Thus, a common storyline in Gothic and horror fiction involves an unbelieving protagonist to whom it is proven-with unpleasant consequences-that some aspect of the supernatural is true. This explanation has been most prominently articulated by Sigmund Freud in his 1919 essay "Das Unheimlich" ("The Uncanny"), and is based on the assumption that beneath the surface of civilized skepticism survive all the irrational beliefs of humanity's past. A corollary to this theory states that because earlier societies assumed the supernatural as part of the cosmic order, its manifestations could not inflict that dread peculiar to modern humanity. Among these reasons, one is most often given: the nineteenth century was an age of scientific and technological advancement that had distanced itself from many of the superstitions of the past as a consequence, it was precisely these superstitions, exiled from the progressive consciousness of the day, that emerged in the works of literature. The struggle between religion and science became an important issue as new theories that challenged traditional beliefs were advanced, most prominently Charles Darwin's speculations on human evolution.Īlthough a few commentators have maintained that a literalistic belief in the supernatural has always been, and will always be, a prerequisite for the creation and enjoyment of horror tales, most critics propose special reasons to explain the relatively recent phenomenon of supernatural fiction as a literary form. Nineteenth-century supernatural fiction has also been viewed as a reaction against the materialism and rationalist philosophy that accompanied the rapid social changes brought about by the industrial revolution, during which an older, more stable way of life, with its traditional ways of thinking, was eclipsed by technological progress and the routines of urban life. Alternatively, some critics assert that, rather than serving as an escapist diversion from rigid social norms, the ghost story, advancing the idea that wrongdoers and eccentrics incur the wrath of ghosts, defended the status quo by discouraging rebellion against one's position in society.
The growth of popular magazines increased the proliferation of supernatural tales, and "penny dreadfuls" provided the working class with serialized tales of the macabre, such as Varney the Vampire or, The Feast of Blood (1847), written by either Thomas Peckett Prest or James Malcolm Rymer. In contrast, nineteenth-century supernatural fiction often takes the form of the short story, which critics agree is better suited to achieving the effect of horror, and features more thoroughly developed characters and contemporary settings. The Gothic novel was characterized by intricate but often loosely constructed plots and subplots, stock characters such as the naive young woman and the lascivious male villain, and a medieval setting, such as a haunted, ruined castle. Such concerns precluded the single-minded focus and inventiveness of their successors in portraying weird and ghostly phenomena. Although Gothic novelists often included supernatural incidents in their works, they also pursued other concerns, particularly those related to eighteenth-century morals and manners. While belief in the supernatural served as the basis for the mythologies of early civilizations, and afterward remained an enduring aspect of world folklore, it was not until the nineteenth century that a substantial body of works evolved that focused upon the otherworldly as a source of horror. Many critics have analyzed the connections between these subgenres and the Gothic tradition, as well as some of the most widely-discussed themes, figures, and settings found in Gothic literature and works in these various subgenres. Gothic literature has influenced and inspired several subgenres of literature, including the supernatural tale, the ghost story, horror fiction, and vampire literature. Gothic Themes, Settings, and Figures INTRODUCTION REPRESENTATIVE WORKS PRIMARY SOURCES OVERVIEWS HAUNTED DWELLINGS AND THE SUPERNATURAL PSYCHOLOGY AND THE GOTHIC VAMPIRES FURTHER READING INTRODUCTION
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