“I pass, like night, from land to land…” I mentioned the cursed wanderer in my recent post on Nautical Gothic, so I wanted to examine the concept here in a bit more detail. This is a character archetype that finds its way into many Gothic works both new and classic, either in the form of a villain, a tragic side character, or an antihero. The cursed wanderer is an outcast from society, usually immortal or otherwise supernatural, and never establishes roots but rather is compelled to wander from place to place as the consequence for some past sin. Continue reading Gothic Tropes: The Cursed Wanderer
Tag: Gothic tropes
Gothic Tropes: The Faustian Bargain
We all know never to make a deal with the devil right? The concept of engaging in trades or bargains with demonic figures has been a common motif in folklore around the world for centuries, but this particular iteration—the Faustian bargain—derives its name from the Germanic folk legend of Doctor Faust. These legends spring from a real historical figure, a sixteenth-century itinerant alchemist and astrologer named Johann Faust, whose larger-than-life reputation led to rumors that he had sold his soul to the devil in exchange for great knowledge and magical abilities. The legend of Doctor Faust has been directly adapted into works of literature many times, but we also see similar bargains being struck by other characters throughout Gothic literature.
Gothic Tropes: Animate Portraits and Tapestries
The eyes of the portraits are watching you, seeming to follow you no matter where you go.… It’s such a classic scene in horror that we see this moment parodied in nearly every sitcom or children’s cartoon that has a haunted house episode. But where did this trope come from? To an extent, it’s inspired by an actual artistic phenomenon—an optical illusion called “ubiquitous gaze,” in which the artist’s use of perspective makes the subject appear to be looking at the viewer, no matter what angle the viewer approaches it from. In Gothic literature, however, a supernatural explanation is more likely. In fact, in several classic works, the portraits do quite a bit more than merely follow you with their eyes. Below are a few of my favorite examples of portraits and tapestries that come to life:
Continue reading Gothic Tropes: Animate Portraits and Tapestries
Gothic Tropes: Corrupted Clergy
“Forgive me, Father, for I have sinned”—But what if the one who is supposed to absolve you is even more guilty? This is an idea explored in quite some depth and from a variety of angles throughout Gothic literature. The Gothic has had a very complicated relationship with religion, and Christianity in particular, from its earliest days. Sincere religious belief is often a virtue of the best Gothic heroes and heroines. But some of the genre’s most debased villains are those who wear the cloth of the Church. Early Gothic novels were highly critical of the horrors committed in the name of religion during the Spanish Inquisition, and these works also reflect Protestant and Anglican fears around Catholicism. But even the most obvious anti-Catholic caricatures were often a bit more nuanced, as many authors relied on the acceptable depiction of evil Catholic clergy to more subtly critique the overreach of religious authorities within their own communities. And no sect is safe! You’ll find dangers in any denomination in later works of Gothic literature. Let’s take a look at how corrupted clergymen (and a few women!) have crept through these novels.
Gothic Tropes: The Mad Scientist
A lab coat, wild hair, thick glasses, and a savage glint in their eye as they watch their ill-considered experiment come to fruition—the mad scientist is a particularly recognizable trope in media and pop culture today. Mad scientists are mainly associated with science fiction and are also popular as stock villains in superhero comics, but what many don’t know is that this character trope has its roots in the Gothic. In fact, the villainization of science makes sense when you consider that the Gothic genre emerged as a reaction against the Enlightenment. While proponents of rationalism encouraged the pursuit of pure reason, many authors of the Gothic feared what such intellectualism might become when divorced from ethics and emotion. The character of the mad scientist is the embodiment of such anxieties, as we can see in several prominent works of Gothic literature.
Gothic Tropes: The Naif
Every evil plot needs an innocent victim.… The naïf is one of the core stock characters in Gothic literature. From the same French root as “naive,” the naïf is someone who exemplifies innocence and has not yet been corrupted or made cynical by their encounters with the outside world. This character serves as a foil to innate evil and is usually the main victim of the story’s monster or villain. In Gothic fiction, the naïf is generally a young woman, sometimes an adolescent, who has lived a sheltered life and is suddenly thrust into an unfamiliar and dangerous environment. Because of her lack of experience, the naïf tends to underestimate evil and often trusts the wrong people. The more passive incarnations of this character resemble the stereotypical “damsel in distress,” and need to be rescued by a gallant hero. But sometimes when the naïf loses her innocence, she gains experience and agency. Continue reading Gothic Tropes: The Naif
Gothic Tropes: The First Wife
No one likes being the second choice. This holds especially true for newly married Gothic heroines. You may think you’re marrying the man of your dreams, but if he’s been married once before that’s almost always a sign of trouble. Whether the first wife is dead or simply hidden away, she often manages to cast a shadow over her husband’s new lover and interfere with their relationship. The haunting figure of the first wife is one of my favorite Gothic character tropes! Continue reading Gothic Tropes: The First Wife
Gothic Tropes: Prophecies and Curses
I often say that the core concept at the heart of the Gothic is the idea of the past haunting the present. One common way that this manifests in stories is through an old prophecy or curse. Prophecies serve to explain how the story’s current action is rooted in some event of the past. In many cases, the prophecy addresses a past wrong and how it might be revenged or righted. Generally, some injustice was committed by a member of a previous generation, and now the perpetrator’s descendants suffer the consequences, recalling the biblical notion that “the sins of the father shall be visited upon the children.” The prophecy can come from a divine source, or can be intentionally inflicted as a curse by a character associated with witchcraft. Prophecies may or may not be paired with other supernatural elements, such as literal hauntings by ghosts, revenants, or doppelgangers. Continue reading Gothic Tropes: Prophecies and Curses
Gothic Tropes: Incest
One of the defining features of Gothic literature is that it engages with the taboo—those subjects and behaviors so far outside the accepted norms of society that to even mention or hint at them stirs up fear and anxiety. Exactly what is considered taboo varies from culture to culture and changes over time, but one of the strongest taboos that you’ll find in almost every culture (although often defined differently) is that of incest. Sexual relations between family members are in many places prohibited by law and by religious code, in addition to being against social custom. But perhaps more so than any other crime, incest has the tendency to arouse strong feelings of disgust and discomfort. It is precisely these emotions—along with shock and horror—that writers of Gothic literature have sought to induce by including incest in their fiction. Continue reading Gothic Tropes: Incest
Gothic Tropes: The Evil, Exotic East
As Gothic fiction rose to prominence during the height of British imperialism, it should come as no surprise that both fear of and fascination with foreign cultures would seep into the literature of this time period. Orientalism was pretty entrenched in all genres of English literature during this era, but the significance of the Other made it especially appealing to writers of Gothic fiction. The Other is a person whose identity can be defined in opposition to the Self, and is thus a convenient target on which to project fears, taboos, and other unknowns. In this case, the inhabitants of the East (Turks, Arabs, Indians, the Chinese, and others in between) differed from the average English reader in race, in culture, and often also in religion. Set among these differences, unspeakable evil, unknowable magic, and improbable events gained more weight and credulity. What might seem unbelievable in England could very well take place in a faraway land with strange people. In this way, cursed Indian treasures, tyrannical Arabian leaders, and mysterious Eastern mystics became staples of the Gothic genre.
