The first Gothic fiction appeared with
works like Horace Walpole’s Castle of Otranto (1765), Ann
Radcliffe's The Mysteries of Udolpho (1794) and Matthew Gregory Lewis’ The Monk (1796),
which opposed 18th-century “rationalism” with scenes of mystery, horror, and
wonder. Gothic was a designation derived from architecture, and it carried—in
opposition to the Italianate style of neoclassical building more appropriate to
the Augustan Age—connotations of rough and primitive grandeur.
The atmosphere of a Gothic novel was expected to be dark,
tempestuous, ghostly, full of madness, outrage, superstition, and the spirit of
revenge. Mary
Shelley’s Frankenstein, which maintains its original
popularity and even notoriety, has in overplus the traditional Gothic
ingredients, with its weird God-defying experiments and its monster.
Easy targets for satire, the early Gothic romances died
of their own extravagances of plot, but Gothic atmospheric machinery
continued to haunt the fiction of such major writers as the Brontë
sisters, Edgar
Allan Poe, Nathaniel
Hawthorne, and even Charles Dickens in Bleak House and Great
Expectations. In the second half of the 20th century, the term was applied
to paperback romances having the same kind of themes and trappings similar to
the originals.
Gothic fiction asks to be
considered as ingenious entertainment; the pity and terror are not aspects of
a cathartic process, but transient emotions to be, somewhat
perversely, enjoyed for their own sake.
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