Traditional gothic fiction was at the height of its popularity during the Victorian era, it exploded in the 1790’s and continued its reign well into the 1800’s. This confrontational style of fiction often blurs the lines of realistic and artificial, forcing readers to challenge their beliefs and surpass the norm. However, the aspect of gothic fiction that was most attractive to the Victorian audience was the way human fears and societal tensions were reflected in the deliberately fictionalised literary works. Themes such as the human greed for immortality and eternal beauty that underlie key gothic texts such as Oscar Wilde’s only novel The Picture of Dorian Gray have incited modern adaptations and the appropriation of these texts into modern culture. This text display cultural and literary disciplines entrenched in superficial concepts that have since become common in today’s shallow society. Contemporary texts such as the 2004 film The League Of Extraordinary Gentlemen (based on the comic book of the same name) directed by Stephen Norrington, not only visualise the character of Dorian Gray but also easily assimilate other traditional Victorian gothic characters including Dr Jekyll and Mr Hyde, Dracula’s Mina Harker and The Phantom of the Opera into today’s society. Similarly internationally acclaimed novel and movie Harry Potter and Philosophers Stone written by J.K. Rowling incorporates not only the original gothic theme of immortality and fear of death, but also many central motifs and character’s that parallel Wilde’s original text.
Modern societies desire to live forever as a reflection of Dorian Gray’s lust for immortality.
Gothic fiction’s mesmerisation of its Victorian audience can be pinned to the “fears connected ...
... middle of paper ...
... manifestations of the novel are both numerous and varied in context and validity- however the central theme of human desire for immortality and fear of ageing underlies all. The central themes and characters of these classic texts have easily been appropriated into popular culture with contemporary values and attitudes.
References
(1) Spark notes. http://www.sparknotes.com/lit/doriangray/themes.html
©2006 SparkNotes LLC
(2) Concise Oxford Dictionary. 2007 Edition.
(3) Images of Fear: How Horror Stories Helped Shape Modern Culture. (1818-1918). Martin Tropp. Pg 3.
(4) The Paradox of Oscar Wilde. Contributors: George Woodcock - author. Publisher: Macmillan. Place of Publication: New York. Publication Year: 1950.
(5) Cambridge Guide to Gothic Fiction By Jerrold E. Hogle (Editor)
(6) Gothic the New Critical Idiom, Fred Botting; D.S. Brewer, 2001.
Gothic writing is a style of literature that relies upon the evocation of moods, feelings and imagery for impact. This style of writing was developed during an age of great scientific discovery – such literature marked a reaction against the prevailing ‘Age of Enlightenment’. Many Gothic authors opposed the new-found faith and enthusiasm placed in these discoveries, believing that they restricted freedom of imagination. Consequently, Gothic writers inhabited areas where no answers are provided – exploiting people’s fears and offering answers that are in stark contrast to the otherwise scientific explanations.
Tibbetts, John C. The Gothic Imagination: Conversations on Fantasy, Horror, and Science Fiction in the Media. Basingstoke: Palgrave Macmillan, 2011. Print.
In today’s literature there are many types of genres that people find fascinating, all the way from fantasy to non-fiction. A very interesting genre is Gothic Fiction, where many elements are used to such as violence, ghosts, monsters and many other dark and mystical elements that make up Gothic Fiction. There are many great authors who are well known for their dark gothic style such as Edgar Poe, who has written the short story “Fall of the House of Usher” and the “Black Cat,” or Horacio Quiroga who has written “Feather Pillow” and a more recent author, Ransom Riggs who has written Miss Peregrines Home for Peculiar Children. These three author’s stories all have gothic elements, such as psychological issues, death and fear that parallel one other which shows a common trend between gothic literatures.
In "The Picture of Dorian Gray" by Oscar Wilde, we see a beautiful young man who makes tremendous efforts to transform the actual world into the idealistic world of art, dreams and sensations. Dorian's quest, however, culminates in his ultimate tragic destruction. Given that Dorian lives a corrupt life, one is likely to focus on the negative aspects of his character. In spite of his significant character flaws, Dorian Gray may still be considered a hero. This essay will examine Dorian's degradation from the innocent world to the vicious, sensation-oriented world. The elements contributing to Dorian’s status of tragic hero will then be discussed.
The term ‘Gothic’ conjures a range of possible meanings, definitions and associations. It explicitly denotes certain historical and cultural phenomena. Gothicism was part of the Romantic Movement that started in the eighteenth century and lasted about three decades into the nineteenth century. For this essay, the definition of Gothic that is applicable is: An 18th century literary style characterized by gloom and the supernatural. In the Gothic novel Frankenstein by Mary Shelley, a wide range of issues are explored. Frankenstein represents an entirely new vision of the female Gothic, along with many other traditional themes such as religion, science, colonialism and myth.
In society, there has constantly been the question as to whether people can change or not. Author Oscar Wilde proves in his novel The Picture of Dorian Gray, that one can. The question he poses to his readers is “What kind of transformation is shown by the protagonist Dorian Gray: good or bad?” It is possible to think that Dorian Gray has become a better person, not for others, but for himself since he lives in the pursuit of pleasure and always achieves it. However, as it is demonstrated by the portrait, the damnation of the lives of others can provoke damage to one’s conscience and soul. Dorian’s soul is ruined gradually by his hedonistic adventures, eventually failing to redeem his actions, but not before he leaves a devastating path of destruction and experiences self-inflicted destruction.
Romantic literature, as Kathy Prendergast further claims, highlighted things like splendor, greatness, vividness, expressiveness, intense feelings of passion, and stunning beauty. The Romantic literary genre favored “parts” over “whole” and “content” over “form”. The writer argues that though both the Romantic literary genre and the Gothic art mode were medieval in nature, they came to clash with what was called classical conventions. That’s why, preoccupations with such things as the supernatural, the awful, the dreadful, the repulsive and the grotesque were the exclusive focus of the nineteenth century Gothic novel. While some critics perceived the Gothic as a sub-genre of Romanticism, some others saw it as a genre in its own right (Prendergast).
Punter David, ‘The Literature of Terror’, in A History of Gothic Fictions from 1765 to the Present Day, The Modern Gothic. Harlow, eds. (UK: Pearson Education, 1996)
“Art is the most intense mode of individualism that the world has known.” The aesthetic movement dealt with the nature of art and the simple beauty that is encompasses. Wilde prefaces his novel, The Picture of Dorian Gray, with a reflection on the artist, the art, and the value of both. In Oscar Wilde’s novel, Wilde describes his part of the aesthetic movement and bases the events in the novel on his own experiences.
Romanticism played a large role in the creation of gothic literature, and it was considered to be “a lunatic fringe version of romanticism” (Tiffin). Gothic novels often had a powerful unleashing of emotions to very extreme levels “beyond social constraining” (Tiffin). The genre’s character often had an excess of a specific type (Tiffin), and in an analysis of Frankenstein and Northanger Abbey, this excess can be seen in Frankenstein’s ambition and Catherine’s curiosity.
McGlinn, Colin. A. Ethics, Evil and Fiction. New York: Oxford University Press, Inc., 1997. Pearson, Hesketh. A. Oscar Wilde: His Life and Wit.
Setting his work in the Middle Ages in a remote castle with horror and fantastic elements, Horace Walpole popularized the Gothic Romance genre with his 1764 novel The Castle of Otranto. He was the vanguard in bring thrills to readers with ancient prophecies, mysterious deaths, specters and supernatural events in his novel. However, the Gothic genre reaches a climax in Emily Brontë’s Wuthering Heights (1847), which is marked by its intensity of emotions and artistic subtlety. Wuthering Heights is an exquisite blend of realism and romance that makes it a classic love story that haunts us till today. In this paper, I will argue that social problems of class and economics pull Heathcliff and Catherine apart, and the Gothic Romance genre affects Wuthering Heights by adding Gothic elements of an extreme weather and landscape, supernatural events and death in her novel to create a dark and mysterious atmosphere appropriate for a revenge plot with heightened emotions.
In chapter 20 of Oscar Wilde’s The Picture of Dorian Gray, Dorian reflects on his past and wonders whether he will ever regain his innocence. In this passage, Gothic elements underline the idea of the pursuit of individualism. Dorian’s wild, racing emotions clearly show how much he is driven by his readiness to fulfill his desires under any circumstance. Through this, the use of specific words and punctuation markings also highlight Dorian’s personal yearning to let go and forget about his past.
Woodcock, George. The Paradox of Oscar Wilde. London-New York: T.V. Boardman and Co., Ltd., 1950.
When Dorian Gray first meets Lord Henry at the studio of artist Basil Hallward, he is fascinated with Lord Henry’s wit and the radical social doctrines that he advocates. Dorian is easily molded and falls for the argument he hears. According to Lord Henry the goal of new hedonism, “to realize one’s nature perfectly…to give form to every feeling, expression to every thought, reality to every dream” (198-199). As far as philosophies go this seems rather innocuous until Lord Henry goes on to clarify that, “every impulse that we strive to strangle broods in the mind, and poisons us…the only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing” (199). Lord Henry’s advice entices the malleable Dorian, who does not seem to realize that Lord Henry may advocate giving in to every impulse, even the destructive ones, but he does not follow this advice himself. As Basil Hallward informs Lord Henry, “you never say a moral thing, and you never do a wrong thing. Your cynicism is simply a pose” (188). Dorian, however, takes Lord Henry’s advice concerning new hedonism at face value and the results are disastrous.