Romanticism and Gothic Literature: Key Figures and Motifs
The Big Six Poets of Romanticism
The Big Six were: Wordsworth, Blake, and Coleridge from the first generation, and Keats, Percy Shelley, and Byron from the second generation. Other poets include Leigh Hunt and women such as Mary Robinson, Charlotte Smith, Anne Laetitia Barbauld, Laetitia Elisabeth Landon, and Jane Taylor.
How Did Romantics View Imagination?
They contrasted imagination versus reality, valuing imagination. They believed the creative individual was superior to the merely wise individual. The idea that the brain has two parts, where the right is creative and the left is rational, is not entirely accurate.
“There is a Pleasure in the Pathless Wood”: Romanticism in Poetry
“There is a pleasure in the pathless wood…” is a line from Lord Byron’s poem, *Childe Harold’s Pilgrimage*. It reflects the Romantic idea of finding solace and connection in nature, often feeling like an outsider in society. In William Wordsworth’s “The World Is Too Much with Us,” the speaker expresses a similar sentiment, longing to be a pagan to feel a stronger connection between God, nature, and himself.
Defining the Hero and Byronic Heroism
A hero is a character, fictional or historical, who displays courage and self-sacrifice for a greater good in the face of danger or adversity. Heroes can be divided into superheroes and anti-heroes. Some common heroic traits include fortitude, loyalty, valor, and bravery. Examples of superheroes include Superman and Spider-Man.
The Byronic hero differs from both superheroes and anti-heroes. Similar to the Satanic hero, the Byronic hero rejects social rules, is self-centered, and strives for the impossible. They are often arrogant, clever, and see nature as a symbol of their freedom. They are driven by an “inner demon” and possess both the defiance of a villain and a “bad boy” appeal. Examples include Sherlock Holmes, Severus Snape, and Thanos.
Main Motifs of the Gothic Novel
Some main motifs in Gothic literature include:
- The Doppelganger: A second self or alternative identity, sometimes a physical twin.
- The Forbidden Power/Faust Motif: The Gothic hero questions the universe’s nature and tries to control supernatural powers beyond human understanding.
- Monsters, Satanic Heroes, Fallen Man: Characters who attempt the impossible and forbidden, often becoming devils, beasts, or monsters. The hero in Gothic novels is often a “villain” or mad scientist.
- Beast Transformation: The protagonist’s ambitious pursuit results in a transformation into a beast or monster.
- Demon Lovers, Femme Fatales, Vampires: Angels and devils symbolize conflicting forces in the human soul; witches and wizards are distinct.
- Ghosts: Spirits representing aspects of the protagonist’s experience that “will not die.”
- Dreams and Visions: These often reveal hidden truths or foreshadow events.
Examples of Gothic novels include Jane Austen’s *Persuasion* and *Emma*, as well as *Sense and Sensibility* and *Pride and Prejudice*.
Mary Shelley’s *Frankenstein: The Modern Prometheus*
Mary Shelley’s 1818 masterpiece, *Frankenstein*, is subtitled *The Modern Prometheus*. This alludes to the Greek god who stole fire from Mount Olympus and gave it to humanity. Zeus punished Prometheus by chaining him to a rock where an eagle would eat his liver daily. Being immortal, he would heal each night, only to endure the same torture eternally. In *Frankenstein*, Victor Frankenstein resembles Prometheus as he is punished throughout his life for his creation.
Structure of *Frankenstein* and its Relation to Gothic Motifs
*Frankenstein* is an epistolary novel, written as a series of letters. It also employs a nested narrative structure, like Russian dolls, with stories within stories. It is a “found story” trope. The novel deals with the creation of a monster, an impossible feat, and the character’s transformation into a monstrous figure. It features a mad scientist or Satanic hero whose pursuit leads to a beastly transformation, aligning with Gothic motifs.
“Come, Muse: and Sing the Dreaded Washing Day”: Anne Laetitia Barbauld
This line is from Anne Laetitia Barbauld’s poem, “Washing Day.” She was part of a group of women Romantic poets. The poem explores themes of instinct, duty, community, care, and the practical responsibilities that women bore, which men often did not experience or write about. Barbauld received an unusually comprehensive education from her father and married a minister. One of her notable poems, “Eighteen Hundred and Eleven,” critiques war, violence, consumerism, and corruption in the UK.
Georgic and Pastoral Approaches in Literature
Pastoral literature presents an idealized version of a place dominated by nature, beauty, and permanence. It often features shepherds contemplating nature and elevating simple things. It tends to be unrealistic and denies change.
Georgic literature, on the other hand, depicts a rural area with a complete economic and social system. Some authors who employed these approaches include Elizabeth Gaskell, Charlotte Brontë, and George Eliot.
Biblical Criticism: George Eliot
Biblical criticism involved a rational-historical approach that revealed myths and contradictions in religious texts. George Eliot, whose real name was Mary Ann Evans, translated *Das Leben Jesu* (*The Life of Jesus*), a significant work in this field.