Bloom, Clive (2007), Gothic Horror: A Guide for Students and Readers, Basingstoke: Palgrave Macmillan This debate, nevertheless, is ongoing and has extended to include other forms of storytelling, such as film and video games. Lisa Hopkins, "Jane C. Loudon's The Mummy!: Mary Shelley Meets George Orwell, and They Go in a Balloon to Egypt", in Cardiff Corvey: Reading the Romantic Text, 10 (June 2003). Cf.ac.uk (25 January 2006). Retrieved on 18 September 2018.

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See "ecoGothic" in William Hughes, Key Concepts in the Gothic. Edinburgh University Press, 2018: 63. Although ushering in the historical novel, and turning popularity away from Gothic fiction, Walter Scott frequently employs Gothic elements in his novels and poetry. [42] Scott drew upon oral folklore, fireside tails, and ancient superstitions, often juxtaposing rationality and the supernatural. Novels such as The Bride of Lammermoor (1819), in which the character's fates are decided by superstition and prophecy, or the poem Marmion (1808), in which a Nun is walled alive inside a convent, illustrate Scott's influence and use of Gothic themes. [43] [44]

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Shelley's Frankenstein, for example, takes it on differently. Employing gothic elements in her story, she utilizes violence for a purpose other than representing the dark, unrestricted cunning of humanity or the desire for honor and kingship. Instead, the monster's brutal behavior (first, second, and third-degree murders) is motivated by experiences and emotions that are often at the root of human psychological and depressive issues. The creation is abandoned by its scientist and left to fend for itself, but society only shuns and neglects it. The feelings of rejection and loneliness fuel its anger and in turn its temptation to harm others, according to this line spoken by the character: " This passion is detrimental to me, for you do not reflect that you are the cause of its excess" (Shelley 157). [18] Within the gothic framework, Shelley therefore gave literary violence a new utility: it can be reflective of the flaws of human nature and society – a symbol for the emotional suffering caused by social neglect and injustice. Moreover, Frankenstein introduced the idea that knowledge – particularly the scientific – can be used as a weapon for evil just as for good. This concept dominated later works of fiction, especially within the speculative type.

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Gothic literature is intimately associated with the Gothic Revival architecture of the same era. English Gothic writers often associated medieval buildings with what they saw as a dark and terrifying period, marked by harsh laws enforced by torture and with mysterious, fantastic, and superstitious rituals. Similar to the Gothic Revivalists' rejection of the clarity and rationalism of the Neoclassical style of the Enlightened Establishment, the literary Gothic embodies an appreciation of the joys of extreme emotion, the thrills of fearfulness and awe inherent in the sublime, and a quest for atmosphere. Gothic ruins invoke multiple linked emotions by representing inevitable decay and the collapse of human creations – hence the urge to add fake ruins as eyecatchers in English landscape parks. Holgate, Ben (2014). "The Impossibility of Knowing: Developing Magical Realism's Irony in Gould's Book of Fish". Journal of the Association for the Study of Australian Literature (JASAL). 14 (1). ISSN 1833-6027. On one level, the book is a picaresque romp through colonial Tasmania in the early 1800s based on the not very reliable reminiscences of Gould, a convicted forger, painter of fish and inveterate raconteur. On another level, the novel is a Gothic horror tale in its reimagining of a violent, brutal and oppressive penal colony whose militaristic regime subjugated both the imported and original inhabitants. Haefele-Thomas, Ardel (2012). Queer Others in Victorian Gothic: Transgressing Monstrosity (1ed.). University of Wales Press. ISBN 978-0-7083-2464-6. JSTOR j.ctt9qhdw4. In Ireland, Gothic fiction tended to be purveyed by the Anglo-Irish Protestant Ascendancy. According to literary critic Terry Eagleton, Charles Maturin, Sheridan Le Fanu, and Bram Stoker form the core of the Irish Gothic subgenre with stories featuring castles set in a barren landscape and a cast of remote aristocrats dominating an atavistic peasantry, which represent an allegorical form the political plight of Catholic Ireland subjected to the Protestant Ascendancy. [68] Le Fanu's use of the gloomy villain, forbidding mansion, and persecuted heroine in Uncle Silas (1864) shows direct influence from Walpole's Otranto and Radcliffe's Udolpho. Le Fanu's short story collection In a Glass Darkly (1872) includes the superlative vampire tale Carmilla, which provided fresh blood for that particular strand of the Gothic and influenced Bram Stoker's vampire novel Dracula (1897). Stoker's book created the most famous Gothic villain ever, Count Dracula, and established Transylvania and Eastern Europe as the locus classicus of the Gothic. [69] Published in the same year as Dracula, Florence Marryat's The Blood of the Vampire is another piece of vampire fiction. The Blood of the Vampire, which, like Carmilla, features a female vampire, is notable for its treatment of vampirism as both racial and medicalized. The vampire, Harriet Brandt, is also a psychic vampire, killing unintentionally. [70]By the Victorian era, Gothic had ceased to be the dominant genre for novels in England, partly replaced by more sedate historical fiction. However, Gothic short stories continued to be popular, published in magazines or as small chapbooks called penny dreadfuls. [2] The most influential Gothic writer from this period was the American Edgar Allan Poe, who wrote numerous short stories and poems reinterpreting Gothic tropes. His story " The Fall of the House of Usher" (1839) revisits classic Gothic tropes of aristocratic decay, death, and madness. [55] Poe is now considered the master of the American Gothic. [2] In England, one of the most influential penny dreadfuls is the anonymously authored Varney the Vampire (1847), which introduced the trope of vampires having sharpened teeth. [56] Another notable English author of penny dreadfuls is George W. M. Reynolds, known for The Mysteries of London (1844), Faust (1846), Wagner the Wehr-wolf (1847), and The Necromancer (1857). [57] Elizabeth Gaskell's tales "The Doom of the Griffiths" (1858), "Lois the Witch," and "The Grey Woman" all employ one of the most common themes of Gothic fiction: the power of ancestral sins to curse future generations, or the fear that they will. In Spain, Gustavo Adolfo Bécquer stood out with his romantic poems and short tales, some depicting supernatural events. Today some consider him the most-read Spanish writer after Miguel de Cervantes. [58] Jane Eyre's trial through the moors in Charlotte Brontë's Jane Eyre (1847) A late example of a traditional Gothic novel is Melmoth the Wanderer (1820) by Charles Maturin, which combines themes of anti-Catholicism with an outcast Byronic hero. [45] Jane C. Loudon's The Mummy! (1827) features standard Gothic motifs, characters, and plot, but with one significant twist: it is set in the twenty-second century and speculates on fantastic scientific developments that might have occurred four hundred years in the future, making it and Frankenstein among the earliest examples of the science fiction genre developing from Gothic traditions. [46] The earliest tales of heroic deeds and adventures were told orally in the form of epic poetry, folk songs, and prayers from one generation to another. Epics describe, in stylized and lyrical language, the adventures of a hero, often with superhuman qualities, that serve to put his character to the test. Most epics feature the interference of the concerned culture's gods and deities to either hamper or facilitate the protagonist's journey. These tales tend to be either completely fictional or a blend of fiction and history. [4] Bloom, Clive (2010). Gothic Histories: The Taste for Terror, 1764 to Present. London: Continuum International Publishing Group. p.2. Percival, Robert (2013). From the Sublime to the Numinous: A Study of Gothic Qualities in the Poetry and Drama of Shelley's Italian Period (PDF) (MA thesis). University of Canterbury. doi: 10.26021/4865. hdl: 10092/11870 . Retrieved 29 April 2022.