Frankenstein And The Picture Of Dorian Gray As British Gothic Literature

Oscar Wilde's The Picture of Dorian Gray and Henry James' The Turn Of the Screw are key examples of the way in which gothic texts use and adapt the conventions of the genre. These changes occur due to the author's own personal context and values. The inexorable link between text, context and values is expressed through the way in which both authors choose to manipulate, redefine and introduce new conventions to the gothic.

Mary Shelley’s Frankenstein has undoubtedly withstood the test of time. Frankenstein’s direct association with fundamental Gothic literature is extremely renowned. However, the novel’s originality is derived from the foundational thematic values found within the relationship (or lack there of) between Victor Frankenstein and the monster he had created, in combination with a fascinatingly captivating plot. Understandably, Frankenstein can often be associated with a multitude of concepts; however, in this particular instance, the circumstances in the book seemed remarkably coherent with Shelley’s Romantic beliefs in preserving the natural world, and one’s natural existence. These values present themselves as metaphorical symbols that

In what ways can Mary Shelley's Frankenstein Be considered as a Gothic novel? Can Gothic literature still appeal to us today? Gothic Literature was most popular from about 1764 until 1832, a period of nearly seventy years. At this time there were many successful and famous authors who wrote books which contained a somewhat 'gothic theme'.

Numerous stories that use Gothic style writing usually have a more morbid background than others. In Joseph Pearce’s “The Misunderstood Monster”, Pearce relates to readers the history of Mary Shelley as well as his conclusions of Shelley’s work Frankenstein. He also includes his own interpretations of her work and acknowledges the many symbols throughout her novel. Pearce additionally includes that of other reader’s interpretations and the reasons he thinks that they are mislead. Pearce forms his interpretations of the book through history, religion, and Mythology.

     The term Gothic refers to a genre that came about in the late eighteenth century. It can be a type of story, clothing, or music nowadays. In this paper it will refer to a style of literature. A very good example of this type of literature is Mary Shelley's Frankenstein. There is a sense of foreboding throughout the whole novel, which is one of the basic necessities of the Gothic. This theme of the Gothic has different characteristics that all fit into the story of Victor Frankenstein and his monster and make this one of the first horror stories every told.

Whenever Gothic literature is mentioned, most people would consider the novel Frankenstein to fall under this genre. It is viewed as one of most popular and defining novels of Gothic fiction, remaining an icon throughout society until the present day. However, a lesser-known, but equally brilliant novel, also deserves to be regarded as a quintessential Gothic work. The Monk and Frankenstein bear several similarities to each other, which makes them stand out in their Gothic fiction. Despite this, there are enough major differences between the two books that further prove how important they are to the genre.

Mary Shelley creates a sense of gloom, mystery, and suspense, in her novel Frankenstein. The book generates these perceptions though the setting and the terrible events that go on throughout the book. Gothic novels came from the English genre of fiction popular in the 18th and 19th centuries. Gothics are defined by the mysterious and horrific atmosphere, similar to that of Mary Shelley’s writing. Frankenstein is a gothic novel because of the combined elements of extreme and sinister landscapes, horrifying events, supernatural elements, and a passionate, wilful villain.

Novel in particular and literature in general is more than just a work of fiction but in fact the hidden reflection of a specific historical era. Although, Frankenstein, Wuthering Heights and Dracula were written in different times and each leaves its readers with different emotion and contemplation stages, they all share an affinity: the presence of Gothic elements. Indeed, these novels are designed to lead their reader into thrilling journeys through spooky dark setting, suspense horrifying plot, and claustrophobic atmosphere. These elements, though appear in various forms throughout these three novels, still excellently accomplish their mission of enticing the readers to be caught up in the narrative.

Mary Shelley uses Gothic literature in her novel Frankenstein to prove that there should be limits on what mankind should know. Mrs. Shelley uses horror to show the fear that comes from overstepping boundaries. She also uses violence to show how knowing too much can cause mayhem in one's life, ruin their dreams and goals. Mary Shelley also uses the supernatural as an example of something we should not know too much about. Mrs. Shelley uses man as his own worst enemy to show that everything that went wrong was all Victor’s fault, because he learned how to undo death, a talent know one should have. Mary Shelley affirms that mankind should have limits on what they learn using Gothic

All too often the gothic literature genre is reduced in its interpretation to gloomy weather and archaic haunted houses. These patterns do exist, but they do not define the genre. Gothic literature found its niche in the 18th and 19th centuries, and during the Victorian era it served a more nuanced purpose than simply to scare readers. Many gothic authors used a monster as a vessel to symbolize topics that the Victorian era sensibilities would label as “monstrous.” They are the incarnation of the taboo subjects society is trying to repress. In Bram Stoker’s Dracula and Edgar Allan Poe’s “A Tell-Tale Heart”, the authors use Freudian symbolism along with literary symbolism to demonstrate the repercussions of repressing “id” desires.

Whilst the original origin of the term ‘goth’ is a widely disputed topic; 18th-century literature has had a major impact on the term as a whole. 'The Castle of Otranto' by Horace Walpole was "the first gothic story". It changed the meaning of the term to a more "fictional" sense and making it a "coupling between medieval romance and modern novel". This inspired gothic novels to expand and explore darker tones and aspects of the fantasy and romance genre. The likes of these 19th century novels: Bram Stoker's 'Dracula' Mary Shelley's 'Frankenstein', Oscar Wilde's 'The Picture of Dorian Gray', Robert Louis Stevenson's 'The Strange Case of Dr. Jekyll and Mr. Hyde’; and the 19th century 'Penny Dreadfuls' all took a dark and fictional route with hints of romance or elements of lust.

A story of mystery, tragedy, and terror, Mary Shelley’s Frankenstein continues to captivate millions. She writes the tale of mankind’s obsession of the unknown, pulling readers to Frankenstein’s many lessons. Mary Shelley affects literature with her seemingly paradoxical use of both Romanticism and Gothicism. Shelley takes elements of romanticism, such as heavy use of emotions, innocence, and characters achievements, while also using gothic aspects like death, violence, and dark weather. Weaving the two genres together, Mary Shelley creates a timeless science fiction novel containing characteristics of serenity with a sense of eeriness.

The following piece of writing will explore factors of a gothic novel. It will exclusively do so in regards of the two novels Wuthering Heights and Frankenstein. These very famous novels will be looked at in a very in depth piece of writing. Each novels main themes and their background will be presented. The morality and the gothic novel with specific reference to Frankenstein and Wuthering Heights will be assessed. The second aspect will be the social and cultural of the genre, the genre being the gothic novel. Thirdly, the monster as punishment and the punishment of the monster in both novels. The final aspect that will be analysed is the constructed nature of boundaries in both texts.

Stories and novels are not set in distant places or foreign countries (except Frankenstein). From the 19th century onwards, the novels are often situated in England of that time. Thus, it is suggested that readers should reflect on the stories, placing them in the context of their own country, while also relating to their own mindset. These new ideas are both shown in Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde and Oscar Wilde’s The Picture of Dorian Gray, both of which were written at the end of the century, often referred to as Gothic Revival. However, one of the very first examples of duality is presented in Mary Shelley’s

Eagleton’s idea by underscoring the concept that “Mary Shelley’s answer [in the novel Frankenstein] does not entail the restructuring of society, the elimination of the class system; it does entail a revolution of the human spirit and of the emotions which will issue in benevolent action towards one’s fellow human beings, and in so doing, creating a better society whilst alleviating present ills” (89). In this instance, Mary Shelley’s piece of gothic literature can be defined as alive and purposeful as it strives to promote action and change by the people. Developed through imagination and creativity, it carries political weight that contrasts the rational capitalism of the time and instead is aimed at change in support of the people. Literature of the past can be defined as imaginative, creative, and soul-stirring as can literature of the present.