Gothic Versus Romantic: A Revaluation of The Gothic Novel

Abstract

The Gothic novel is defined not by its stock devices—ruined abbeys and the like—but by its use of a particular atmosphere for essentially psychological purposes. Mary Shelley, Maturin, Melville, and Faulkner develop a form crudely forged by Walpole, Mrs. Radcliffe, and M. G. Lewis. Their Gothic novels attempt to immerse the reader in an extraordinary world in which ordinary standards and moral judgments become meaningless and good and evil are seen as inextricably intertwined. Gothic writing is closely related to romantic: both are the product of a profound reaction against everyday reality and conventional religious explanations of existence. But while romantic writing is the product of faith in an ultimate order, Gothic writing is a gloomy exploration of the limitations of man. The one attempts to transcend the flux of the purely temporal to find joy and security in a higher beauty; the other is mired in the temporal and within it can find only absurdities and unresolvable ambiguities.

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