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 ...
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... 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.
Dorian Gray shows how much he gave up to pursue his obsession when he said that his fiancé’s suicide was melodramatic and unnecessary (Wide 88-89). Obsession causes Dorian to indulge all forms of self-pleasure, whether moral or immoral, and to disregard the value of his own soul to preserve his transient beauty. The portrait that Basil Hallward painted acted as a mirror to his soul’s state and grows revolting each time he indulges in immoral acts, which inhibit him from focusing on what is truly important. It was only until the end when he kills himself does his soul reverts back to his inner beauty as shown in his portrait (Wilde 197). Wilde shows us how conformity can push us to obsess something that we don’t truly believe and ignore all other aspects that actually lead to our good lives. Through Dorian Gray, we are taught that we need to stand by our beliefs and not lose ourselves in other people’s beliefs. Wilde teaches the audience that we need to hold onto some core beliefs and elements that we hold near and dear to
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.
Gothic Fiction is a popular genre of literature that’s aim is to combine horror, fiction and romanticism. It originated in 18th century England and was said to have been founded through Horace Walpole’s novel “The Castle of Otranto” (Hughes). He claimed it to be a “found” medieval manuscript which added to its popular, although he later admitted it was a lie (Hughes). This mode of literature appears to have sprung out from Gothic architecture...
Spector, Robert Donald. Introduction. Seven Masterpieces of Gothic Horror. New York: Bantam, 1963. 1-12. Tillyard, E.M.W. Myth and the English Mind. New York: Collier Books, 1961.
Many authors use Gothic literature in their common works like “The Black Cat,” written by Edgar Allen Poe, “Prey,” by Richard Matheson, “The Devil and Tom Walker,” by Washington Irving, “The Feather Pillow,” by Horacio Quiroga, and “A Rose For Emily,” by William Faulkner. In effort to create a sense of mystery, suspense, and superstition, these authors use these Gothic Elements: Entrapment and Violence. By using these elements, authors illustrate their belief that one should express themselves through individualism.
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 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.
“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.
The period of the gothic novel, in which the key gothic texts were produced, is commonly considered to be roughly between 1760 and 1820. A period that extended from what is accepted as the first gothic novel, Horace Walpoles The Castle of Otranto ( 1764 ), to Charles Maturins Melmoth the Wanderer ( 1820 ) and included the first edition of Mary Shelleys Frankenstein in 1818. In general, the gothic novel has been associated with a rebellion against constraining neoclassical aesthetic ideals of order and unity, in order to recover a suppressed primitive and barbaric imaginative freedom ( Kilgour, 1995, p3 ). It is also often considered to be a premature ( and thus somewhat crude ) manifestation of the emerging values of Romanticism. Although the gothic genre is somewhat shadowy and difficult to define it can be seen as having a number of characteristics or conventions which can be observed in Frankenstein including stereotypical settings, characters and plots, an interest in the sublime, the production of excessive emotion in the reader ( particularly that of terror and horror), an emphasis on suspense, the notion of the double and the presence of the supernatural. (Kilgour, 1995; Botting, 1996 ; Byron, 1998 : p71 )
Dorian Gray is a grand Gothic experiment from the moment in Basil Hallward’s studio when he desperately swears that he “would give [his] soul” if only he “was to be always young, and the picture … was to grow old” in his stead (Wilde 28). Even before this moment, Dorian was a test subject of Lord Henry’s, who wanted to see how many of his own ideas he could inject into the boy. This influence rapidly planted in Dorian the ideas of eternal youth and beauty and led to the encasement of his soul in the portrait. After the switch, Dorian not only is under Lord Henry’s influence, but he is also Oscar Wilde’s subject. In his novel The Picture of Dorian Gray, Wilde manipulates Dorian, his surroundings, and his circumstances to capture a realistic portrayal of the character’s downfall by depicting the nature of the body, mind, and soul, and the relationship they share.
In the novel The Picture of Dorian Gray by Oscar Wilde the eponymous character Dorian follows the lifestyle of New Hedonism. This lifestyle advocates a complete abandon to your impulses, and does not believe in following social dictates or morals. The book illustrates the long-term effects of new hedonism, showing the destruction and death Dorian creates due to following this creed, eventually leading him to complete madness and his own destruction.
Woodcock, George. The Paradox of Oscar Wilde. London-New York: T.V. Boardman and Co., Ltd., 1950.
Oscar Wilde’s The Picture of Dorian Gray (1890) follows the story of Dorian Gray; a man gifted with exquisite natural beauty, whose vanity and obsession with his own youth leads him astray in a life of sin. As Dorian slowly loses his innocence, with the obsession of living hedonistically, his portrait suffers the punishment for his sins and growing age. Dorian himself remains untouched in age; however, the portrait reflects the loss of innocence in his pursuit of atheistic and hedonistic lifestyle. The thematic overtones explored in Wilde’s book discuss many issues of value, ethics, and vice. Although Wilde writes about the downfall of Dorian Gray due to obsession of beauty, it is important to note that Dorian himself only dies when his human
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.