Introduction
Traditional Gothic literature is a genre with stresses on elements such as death, fear, confinement, and romance. It developed on the basis of cultural, social, historical, and political background. Events akin to the Great Depression and World War II stimulated further changes and the eventual transition to the modern horror movement. The next genre incorporated the science fiction element and removed the romantic component compared to its antecedent. In the following essay, an attempt will be made to describe the process of shift from Gothic to modern horror with a discussion of particular themes for each genre and how they express societal standards of those days.
Specific Themes in Traditional Gothic
A gothic novel sets the tone with a dark and suffocating environment where characters feel trapped and desperate for their fates. Authors pay attention to the physical location so as to facilitate the emotions of terror and anxiety of main figures as well as readers. They frequently utilize nature in an intimidating context with a gloomy forest, disturbing mountains, and cloudy weather. In “Dracula,” Bram Stoker (1897) represents the Count’s castle as a “vast ruined” from which “tall black windows came no ray of light” (p. 14). The author uses the castle to depict a dark atmosphere, giving an insight into Dracula’s ominous personality. Thus, a peculiar setting is a fundamental factor to establish the right scenery and mood.
Repeatedly, characters of Gothic novels find themselves locked or isolated from the outside world. An uneasy growing sense of captivity and lack of control makes their journeys insufferable, that is, claustrophobia. Confinement of women in ancient and sinister castles is one of the most widespread methods to instill fear and vulnerability. A seemingly successful escape from a cursed place is not the end of their adventures because it is impossible to forget the horror observed and experienced. It is a mental state that is traumatized and can never be repaired. After breakfast, Harker explores the castle and discovers that all doors are locked (Stoker, 1897, p. 27). The realization of being imprisoned scares him, imploring “God preserve my sanity” (Stoker, 1897, p. 37). Here, the despair combined with the constant expectation of threat leaves no choice but to pray for the stability of mind. Hence, confinement is the second significant and distinguishing theme central to traditional Gothics.
Gothic novels are rife with passionate romance stories with tragic and unfortunate outcomes. The works are based on a sentimental love relationship together with hideous villains, whom characters are supposed to confront. It can be noted that during the Victorian era, music halls lured thousands of people with the rise in the popularity of melodrama. Therefore, Gothic novelists attracted readers with their ability to blend two different stylistic features. For example, Stoker’s (1897) novel is built on journal entries where Harker conveys his love for Mina, while the latter’s entries are full of concern for her fiancé. On the other hand, Lucy writes letters about proposals, choosing between three decent suitors (Stoker, 1897). The romantic component makes struggles and miseries more sorrowful and personal. Thereby, romance is another indispensable aspect of Gothic literature, adding to the uniqueness of the genre.
Women in anguish and distress is an additional prominent theme, which appears in many Gothic novels. These women can experience physical pain as well as emotional agony because of their helpless situations. Villains terrorize them by holding them captive in castles or hurting their loved ones, damaging women’s mental wellbeing. For instance, Lucy Westenra is attacked by the Count multiple times, leaving her with incurable wounds and leading to a torturous death (Stoker, 1897). At the same time, Mina is put under constant stress regarding Lucy’s strange sleepwalking behavior and her own suffering of turning into a vampire (Stoker, 1897). Thereupon, it is evident that female characters endure the torment of being the objects of villains’ evil plans and atrocities.
Specific Themes in Modern Horror
Modern horror is filled with metaphorical meanings of events and characters’ personalities. It acts as a message to readers to grasp the moral of stories so that they will take it as a lesson. In “The Haunting of Hill House,” Shirley Jackson (1959), the authoress of the horror novel, presents the house as an analogy for the broken identity. To be more precise, closed doors, rooms without windows, bizarre floor plans, peculiar angles are parallel to Eleanor’s contradictions and concealed emotions (Jackson, 1959). Her personality is dissolving and separating into two alternative versions of herself (Jackson, 1959). Hence, modern horror includes scenes with hidden significance, implying figures’ mental health issues.
There is a strong presence of a scientific approach to solving problems and dilemmas the main characters encounter. Frequently, there is an individual or a group of experts, with respect to paranormal activities, who try to tackle the issues akin to ghosts haunting souls. Jackson (1959) demonstrates Dr. Montague as a scientist, confronting the evil powers of the house with technical methods. Apparently, the cool-blooded tactic does not work in dealing with supernatural forces. Overall, the doctor obscures the abnormal events by mixing them with an explanation of fractured psyches. Thus, science exposes the problems from an analytical and deductive point of view, giving readers an additional perspective.
Changing societal values and reconsideration of old practices have their influence on modern horror features. Focus on women’s sexuality is the next theme where patriarchal values affect the main figures’ fears and expectations. For example, Hugh Crain, the owner of Hill House, is considered as a villain taking into account the sexist concerns about his daughter’s sexual matureness (Jackson, 1959). Moreover, Eleanor loathes Theodora due to her open sensuality, secretly being jealous of her bluntness and freedom (Jackson, 1959). Therefore, the attention to sexuality is another element of modern horror, reflecting social norms and views.
A topic of the search for a home prevails in modern horror literature, signifying a place where characters belong and are loved by their families and friends. The setting plays an integral part in the revelation of their insecurities and complex natures. Hill House, as it was mentioned before, is a massive gloomy mansion with no signs of life in it (Jackson, 1959). In the quest, characters investigate the haunted area in the hope to find their own places in life, the ultimate destination where they can be happy and achieve a balanced state of mind. By affirming the eventual failure, the authoress declares that acceptance and comfort may never be reached. Thereby, the exploration of belonging is an extra component in the modern horror genre.
Transitional Themes in the Evolution of Gothic Genre
When the Victorian era was replaced by Romantic ideals, some elements of Gothic literature began to perish. The focus shifted to horror and supernatural events happening in ordinary life. Traditions of unusual settings of dismal castles disappeared, substituted with regular houses and police departments. Additionally, the novels started to originate from actual criminal cases or real-life events, compared to superstitions and convictions in Gothic ones. Personal morality had started to fall under question as characters became less amicable, helpful, and sociable companions. Their visions, respect, and trust in society had diminished together with growing anger and bias toward other figures. To illustrate, Jackson (1959) shows characters as violent, narrow-minded, and intolerant. Compared to Stoker’s ones, they are noble, friendly, caring, and dedicated to their missions of saving lives for the sake of the world’s safety from vampires. Thereupon, conventional themes began to fade away with changes in the environment and the characters’ nature.
Villains are present in both genres and are critical in order to terrorize characters with their evil acts. However, their nature or acknowledgment of their existence had changed over time as one genre transformed into another. In “Dracula,” the professor and his friends are struggling with the real monster, whose unbelievable crimes were uncovered and punished (Stoker, 1897). By contrast, the creatures, haunted Hill House, are doubtful to exist since the authoress provides a scientific perspective that characters’ minds are the source of fears and fright (Jackson, 1959). Thereupon, it is evident that the depiction of antagonists is one of the transient elements.
Reflection of Societal and Cultural Norms and Fears
Political events and social values have an impact on literature’s movements and themes. Great Depression implied disastrous economic collapse and uncertainties regarding the future of the United States, affecting the rest of the world. People’s interest in stories with paranormal activities had increased. Various horror radio shows were introduced, which were turned into print stories. World War II brought violence and murders, while horror novels about serial killers started to gain popularity. Shocking cases of brutal slaughter inspired novelists to write about cannibals and other killers, overshadowing fictional horror. Solid archetypes of the genre emerged, serving as a role model for all future works. Thus, economic conditions appear to influence the tastes and preferences of readers, which can be observed through the lens of literature context.
The Cold War instilled hysteria and worry about the intrusion and possibility of application of a means of mass destruction. The concerns were realized in speculative fiction where novelists use elements of supernatural and inventive topics. Here, the changing genre reflects society’s imaginative aspect since people could only suppose what would happen in case of another war. Thereby, paranoia about the Cold War was followed by a hypothetical style of horror literature.
Conclusion
In conclusion, it can be noted that the traditional Gothic literature is comprised of confinement elements of isolation of main characters and a particular atmosphere of dismay and terror. Moreover, it also includes a romantic component, to increase the tension of events, and a woman in a desperate situation, leading to harmful consequences regarding the mental and physical state. Modern horror is also distinguished by metaphors, uncovering characters’ vulnerabilities, and scientific standpoint, allowing readers to question the reality of events. Furthermore, sexuality, as a hegemonic aspect of social values, and home searching is centralized. There are specific themes, which contributed to the evolution of Gothic literature. Novels, based on true criminal cases, became prevalent, which enhanced the public’s curiosity in the horror genre. The portrayal of villains had undergone alterations concerning the recognition of their presence. In addition, the characters’ tempers and sincerity of intentions had transferred in a negative direction. On the whole, ever-evolving economic and social conditions mirror the patterns in the changing genre.
References
Jackson, S. (1959). The haunting of hill house. Penguin Classics.
Stoker, B. (1897). Dracula. Signet Classics.