Gothic Genre as a Reaction to Enlightenment Ideals of Reason and Harmony - Essay Example

?To what extent can the Gothic genre be understood as reaction to Enlightenment ideals of reason, harmony and social progress? Your answer should address two or more writers The Gothic genre invites a world of fantasy, which had its peak during the late eighteenth and beginning of nineteenth century. The world of Gothic elements was different from that one encountered by the literary scholars of the postcolonial period during the twentieth century. The age of Enlightenment (during 16th and 17 centuries) was marked by reason, harmony and social progress where people tried to find reason behind every aspect of life and thinkers like John Locke and Voltaire popularized the application of reason bringing about scientific revolution (Brown, 2005). These ideals showed better possibilities of harmony in the society, which was marked by the caste system and other irrational sectionalism. The Gothic elements, like the postcolonial ideologies, contain an interest in challenging the basic concepts of rationality popularized by the post-enlightenment period. For instance, in the Gothic period, the ideas of Romanticism challenged the rationality of the Enlightenment period, which tried to account for all behaviors and knowledge. Rather the Gothic elements apparently observe “the irrational, the outlawed and the socially and culturally dispossessed” (Smith and Hughes, 1). The Enlightenment ideals place emphasis on what is known by the subject rather than how the subject comes to know it. According to the Enlightenment principles human beings are supposed to measure knowledge itself and the definition of human beings determines humanity. It is this view, which support racialism, which was a byproduct of colonialism. The Gothic genre rather raises questions about the meaning of being a human. The use of Gothic characters in human and ab-human versions like the ghosts and vampires might threat the mainstream lesson of humanists. Therefore the Gothic components give rise to a frame of literature, which attracts the colonial authors and invites interpretation via ideas borne by post colonialism. The Gothic genre can be further categorized into sub genres like ‘modern Gothic’, ‘Victorian Gothic’, ‘female Gothic’ etc. the very word “Gothic” can been synonymous with ‘wild’, ‘barbarous’ and ‘crude’ characteristics (Botting, 1). The term in fact encompasses Gothic imagination, Gothic characteristic and a lack of awareness for science and technology. A future characterized by Gothic genre would be signified by a fiction depicting the dark future or an oncoming dark age. Some of the most dominant instances are the characters of Frankenstein and the Dracula. Keeping in mind the basic Gothic components, the paper picks up three novels, Frankenstein by Mary Shelley, Northanger Abbey by Jane Austen and Castle of Otranto Walpole to understand the Gothic genre as a challenge to the enlightenment concepts of reason, social advancement and harmony. Although the Gothic genre claims to have initiated from the feudal traditions as referred, yet it is actually an eighteenth century production and innovation and also originates in “fake origins” because it leads to a fabrication of origins and also “Fabricating a fabrication” (Botting, 2). The novel The Castle of Otranto is often referred as the first Gothic novel. A close reading of Walpole’s work which later inspired a short story, poem and even a film, shall help identify supernatural elements like omens, prophecy and visions. It enfolds a castle with its haunting mysterious ways – “blasts of wind that shook the doors she had passed, and which, grating on the rusty hinges, were re-echoed through that long labyrinth of darkness” (Walpole, 1766, p.23). The characters are blessed with lack of reason and more of overwhelming emotions. This disturbs the harmony time and again with the shrieks of women and dramatic reactions. The female characters are under patriarchal domination of male tyranny. The women had none to turn to except God as they are under the whims of men’s orders – “Words cannot paint the horror of the Princess’s situation…She addressed herself to every saint in heaven, and inwardly implored their assistance” (Walpole, 1766, p.25). Such a situation does not signify any touch of social progress where orders are meted out against one’s will and following one’s emotions such as rage and revenge. Recalling Rene Descartes (1596-1650), one of the significant proponents of the Enlightenment age, one needs to idealize God as something perfect, which would deceive us if one does not abide by reason. In this context therefore even God cannot helping the princess since the people have taken unreasonable decisions guided by emotions and sentiments rather than reason (Descartes & Ariew, 200, p.147). One finds Theodore speaking on behalf of Matilda with whom he has fallen in love and does not forget the benefit he received from her to escape from her father’s power. Yet Matilda is being punished for her father’s fault and the verdict of the King reigns supreme over that of the son who is bound to obey his father’s word with or without reason. The words of the Friar, “It is sinful…to cherish those whom heaven has doomed to destruction” (Walpole, 1766, p. 158), do not contain any rational foundation because by reason none can be fated to be destroyed by the heavens. Such beliefs also hamper social progress and harmony and create unreasonable fear in a person’s mind. This kind of domination hampers social progress, which can only be activated by proper reasoning cherished by Enlightenment ideals. Gothic literature does not offer the most cherished thoughts and words of the world, but its examination of the mystical force, intense power of natural elements, fears embedded deep within the human minds and passions coming at a time when the enlightenment principles of reason, scientific knowledge and empirical validation made the Gothic genre all the more interesting. The darkness, superstitions and violence characterizing the novels of the Gothic genre seem to tell us truths which might be read in a roundabout manner to understand that the aspects rejected by human culture might at times be as significant as those which belong to the same. It implores the critics to read those objects, which lie outside human culture and look for meanings in the excluded depictions. For instance Shelley’s depiction of the monstrous being, a human creation, with human character brings out sympathy for the representations of evil. This can be taken as an instance of remakes of the classic Gothic novels, which now arouse sympathy for the evil symbolisms. Shelley’s work represents a postmodern piece of literature where the common perceptions and fear about demons in a culture change to acknowledgment and acceptance of the same with the understanding that the image of the monster can represent the inner darkness of human beings. The rejection faced by the monster at every step owing to his ugliness and unacceptable physical size and dimensions along with the work of the scientist for the sake of popularizing his brainwork and satisfying his inventive talents show the negatives present in human beings. Yet, the monster is helpful, rescues a child and despite wanting to kill his creator kills himself out of frustration and loneliness. It is difficult to judge here who is the real monster. It could also be the scientist, Victor Frankenstein, who creates the demon with human character and then refuses to make a female partner for him lest it might give birth to a generation of demons, which might wipe out the human race. Out of despair from the ill treatments he receives from human beings the monster is angry with his creator – “Cursed, cursed creator! Why did I live?” (Shelley, 1818, p.111) The monstrous instincts lie without us, which are selfish and fail to consider other humane sentiments. The incidents show clear lack of reasoning amongst the human beings who encountered the monster and even in the scientists who failed to see the immediate future before creating the demonic being. People were scared by his outward appearance without aptly applying reason and trying to judge the truth behind his existence. Such scientific disasters, which have to be destroyed in order to seemingly protect the human race, cannot be conducive to social progress. For instance, a huge human form who learns human manners automatically through observation, cleverly takes revenge on the human race out of rage by framing the girl for murder and all these within a short span of being born definitely signifies an advanced form of cell activities, but the lack of reason leads to his death which if prevented could have given birth to a more sophisticated and genius race perhaps. However fear of the scientist and lack of harmony amongst the people who could not see through the monster’s heart finally opposed the enlightenment components. An acceptance of Gothic forms with sympathy and reason is what the author invites in her work. It calls for an amalgamation of science and Gothic elements. If Walpole may be referred as the founder of Gothic novels through his work The Castle of Otranto, Austen’s work Nothanger Abbey may be called as a parody of Gothic genre. The fiction is a satire of Radcliffe’s work Mysteries of Udolpho, quite a popularized novel. Austen paints the personality of a young girl who simply is the opposite of a Gothic princess with all the beauty and charm to fit the romantic touch to the work. Even her interests are not that feminine “She was fond of all boys’ plays, and greatly preferred cricket not merely to dolls, but to the more heroic enjoyments of infancy.” (Austen, 1848, p.1) Austen shows how Catherine begins to take interest in sensibility, which in the eighteenth century was an outcome of ideal feminism. Catherine s influenced initially by her closest friend Isabella who does not have her best wishes in her heart but Catherine cannot notice the same. Isabella is as dishonest as John, her brother who tries to flirt with Catherine but does not engage her. The Gothic elements come up with the introduction of Catherine to the Gothic novel of Radcliffe suggested by Isabella who introduces her to the world of fun and love where there are boys and enjoyment at parties. This brings on a romantic touch to Catherine’s life but only in her fantansy, which begets illusions. When he is about to reach Northanger Abbey she tries to imagine it to be dark and mysterious like the abbeys described in the Gothic novels especially in Radcliffe’s work. Henry Tilney also misleads her by describing the mystery of the mansion by giving her false descriptions, which drastically differ from the reality of modern designs of the abbey – “there is a secret subterraneous communication between your apartment and the chapel…this small vaulted room…. in one perhaps there may be a dagger, in another a few drops of blood…a large, old-fashioned cabinet of ebony and gold,. …Impelled by an irresistible presentiment, you will eagerly advance to it, unlock its folding doors, and search into every drawer.” (Austen, 1848, p.129). Thus Henry’s words spurs her imagination even further with this description of a mysterious occurrence awaiting her. She is disappointed when she discovers the reality. Catherine takes time but in the end she perceives the motivations of Isabella. She realizes that life in reality does not come in shades of black and white and a person can be both good and bad. The novel here brings out the difference between the reality and the world of fantasy described in Gothic genre. Austen shows that in reality a normal girl is not necessarily the romantic heroine of Gothic texts. Henry’s description of the Abbey also brings out Gothic elements, which are similar to the ideas found in the novels she reads. Catherine being influenced by her surroundings also desires to be a Gothic heroine but later realizes her failure. When reality dawns on her she is even ashamed of her thoughts and approach to life. Her failure to see the Enlightenment ideals of reason leads to the loss of harmony in her life. Thus the author shows the difference between rational thoughts and fantasy initiated by Gothic elements. Therefore one may see that Gothic genres tries to lead the mind of the readers into a world where they almost become a part of the plot and the lives of the characters, being alienated from the real world. It is simply fantasy, which dominates a Gothic novel. While the Castle of Otranto is a typical Gothic novel, Shelley’s work is a personal touch on the classic definition of Gothic genre which makes her work all the most interesting and helped people of the nineteenth century and even today to relate to the work and the ideals upheld there. Northanger Abbey on the other hand parodies the Gothic genre in a way, which might help many readers identify themselves with the main character Catherine. Austen therefore manages to bring out the difference between the Gothic imagination and reality, which has been cherished by Enlightenment ideals centering on reason, leading to social progress and harmony. References 1. Austen, J. (1848), Northanger Abbey, R. Bentley 2. Botting, F. (2001), The Gothic, Boydell & Brewer. 3. Brown, M. (2005), The Gothic Text, Stanford University Press. 4. Descartes, R. & R. Ariew (2000), Philosophical essays and Correspondence, Hackett Publishing 5. Shelley, M.W. (1818), Frankenstein, Forgotten Books 6. Walpole, H. (1766), The Castle of Otranto, Bodleian Library Read More