Is there an issue? Send a MessageReason:
None
Changed line(s) 67 (click to see context) from:
** PoeticJustice: In Gothic fiction, past transgressions are inevitably requited, if not upon the transgressors themselves, then [[SinsOfOurFathers upon their progeny]], however unfair that may appear to mortal judgment. Such cosmic punishment typically involves DeathByIrony, [[FateWorseThanDeath insanity, a life of agony, or eternal damnation]].
to:
** PoeticJustice: [[LaserGuidedKarma Poetic Justice]]: In Gothic fiction, past transgressions are inevitably requited, if not upon the transgressors themselves, then [[SinsOfOurFathers upon their progeny]], however unfair that may appear to mortal judgment. Such cosmic punishment typically involves DeathByIrony, [[FateWorseThanDeath insanity, a life of agony, or eternal damnation]].
Changed line(s) 154,155 (click to see context) from:
Hall admits that the above list is non-exhaustive. For example, we could add TheGrotesque: a character defined by their deformity that leads to social ostracism and alienation (example: [[Literature/{{Frankenstein}} Frankenstein's Creature]], [[Literature/TheHunchbackOfNotreDame Quasimodo]], [[Literature/ThePhantomOfTheOpera Erik the Phantom]]). Nevertheless, it is easy to see how Hall's roles combine to produce the most recognizable Gothic archetypes: the Tyrant is the Master of the Gloomy House who is also a Greedy Villain, an Evil Charmer, and often a Bigamist; the Maiden is commonly a Newly Arrived Outsider, a Naive Bride, and a Captive; while the Hero is often a Semi-Outsider, a Love Interest, and the True Heir.
to:
Hall admits that the above list is non-exhaustive. For example, we could add TheGrotesque: '''TheGrotesque''': a character defined by their deformity that leads to social ostracism and alienation (example: (examples: [[Literature/{{Frankenstein}} Frankenstein's Creature]], [[Literature/TheHunchbackOfNotreDame Quasimodo]], [[Literature/ThePhantomOfTheOpera Erik the Phantom]]). Nevertheless, it is easy to see how Hall's roles combine to produce the most recognizable Gothic archetypes: the Tyrant is the Master of the Gloomy House who is also a Greedy Villain, an Evil Charmer, and often a Bigamist; the Maiden is commonly a Newly Arrived Outsider, a Naive Bride, and a Captive; while the Hero is often a Semi-Outsider, a Love Interest, and the True Heir.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
Scholar and author [[https://thegothicwanderer.wordpress.com/2023/05/21/meet-the-gothic-cast-a-guest-post-by-rayne-hall/ Rayne Hall has argued]] that rather than looking for archetypes, Gothic characters can instead be analyzed in terms of the roles they play in the plot, with the twist that the same character can combine several of these at once. She has identified at least 23 of these, as well as three non-character archetypes they often related to: the [[HauntedCastle Gloomy House]] (which often serves as the main setting, with one cast member serving as its Master), the [[DarkSecret Guilty Secret]] (which drives the mystery subplot, with at least one of the cast serving as its [[SecretKeeper Keeper]]), and the Family Fortune (which is often the ultimate worldly prize, with one or more of the cast as its Claimants). In alphabetic order, Hall's 23 archetypal roles are:
# The '''[[WouldHurtAChild Abusive Guardian]]''' is defined in relation to their Ward, who for one reason or another is unfit to receive the Family Fortune, so the Guardian administers it for them, while secretly planning to take it for themselves, either through [[InheritanceMurder murder]] or by marrying the Ward themselves or to their own child. If the Ward is a Helpless Child or otherwise a minor, the Guardian can be a hired tutor or an actual legal guardian. If the Ward is a Sickly Invalid or an Mentally Deranged Person, the Guardian will use it as a pretext to further isolate them. Examples: [[Literature/TheMysteriesOfUdolpho Montoni]], [[Literature/WutheringHeights Heathcliff]], [[Literature/TheWomanInWhite Count Fosco]].
# The '''Ally Outside''' is defined in relation to a Newly Arrived Outsider and the Gloomy House: specifically, they are a caring person (colleague, sibling, friend, godparent) who nonetheless cannot join the Outsider, instead providing encouragement, advice, or warning from afar.
# The '''[[GoodAdulteryBadAdultery Bigamist]]''' is defined in relation to their existing Spouse and to a Pursued character, whom they seek to wed despite already being married, either out of lust or for the latter's Family Fortune. To this end, they can deny or hide their Spouse (often in an underground chamber or [[MadwomanInTheAttic the attic]] of the Gloomy House), seek to divorce them, if only on paper (often with the help of a Corrupt Priest), or to outright poison them (with the help of a Corrupt Doctor). Alternatively, they can already be widowed, but their Spouse still haunts them or their Pursued as a Ghost. Examples: [[Literature/TheCastleOfOtranto Manfred]], [[Literature/JaneEyre Edward Rochester]], [[Literature/TheWomanInWhite Percival Glyde]].
# The '''[[BeleagueredBureaucrat Blinkered Professional]]''' is defined in relation to some Task which they must fulfill in the plot, before completely withdrawing themselves from the surrounding conflict. Often a doctor or a lawyer.
# The '''[[DamselInDistress Captive]]''' is defined in relation to their Captor, who keeps them constrained, such as a Greedy Villain or an Obsessed Scientist. The reasons they are locked up (often underground, in an attic, or [[LockedAwayInAMonastery at a monastery]]) range from [[HeKnowsTooMuch knowing the Guilty Secret]] to generally having an inconvenient existence (such as being a stronger Claimant to the Family Fortune). Examples: [[Literature/TheWomanInWhite Laura Fairlie]], [[Literature/JaneEyre Bertha Mason]], [[Literature/TheCountOfMonteCristo Edmond Dantès]].
# The '''[[DeadlyDoctor Corrupt Doctor]]''' is defined in relation to their Patient, whose illness they seek to exacerbate despite belonging to a healing profession (doctor, nurse, therapist, etc.), because because they are in cahoots with another villain, to silence the victim, or to claim their Family Fortune for themselves. The Patient is often a Sickly Invalid, a Mentally Deranged Person, a Helpless Child, or an Old Eccentric living in the Gloomy House.
# The '''[[SinisterMinister Corrupt Priest]]''' is defined in relation to their Flock, who put their trust in them as a religious professional (priest, monk/nun, shaman, spiritual leader, etc.), which they then abuse for personal gain. A corrupt Catholic priest will break the seal of the {{Confessional}}, a monk will still from charity, and a cult leader will outright incite their followers to commit crimes. Examples: [[Literature/TheMonk Mother St. Agatha]], [[Literature/TheItalian Father Schedoni]], [[Literature/TheHunchbackOfNotreDame Claude Frollo]].
# The '''[[CanineCompanion Dog]]''' is a non-human (specifically canine) character defined by its loyalty to its human Owner. It can serve as a Loyal Retainer to the Master of the Gloomy House, a treasured pet of the Newly Arrived Outsider, or an Obsessed Scientist's test subject. Alternatively, it can be a monster or even a Ghost. Either way, a Dog is usually good at sniffing things out, up to and including the Guilty Secret itself. Examples: Literature/TheHoundOfTheBaskervilles.
# The '''[[ManipulativeBastard Evil Charmer]]''' is defined by their demonic charm, likeability, and apparent trustworthiness. They seek to be liked and/or loved by everyone, usually to abuse their trust for personal gain or just to seduce the opposite sex and to ruin them for pleasure. The Evil Charmer is often also the Master of the Gloomy House, a Bigamist, a Semi-Outsider, or a Loyal Retainer. Examples: [[Literature/TheMysteriesOfUdolpho Montoni]], [[Literature/TheVampyre Lord Ruthven]], Literature/{{Carmilla}}.
# The '''[[OurGhostsAreDifferent Ghost]]''' is a literal PosthumousCharacter who haunts the living or the Gloomy House as an apparition. Most commonly, they are the victim or the perpetrator of a murder, a bigamy, or deceit over the Family Fortune and seek {{revenge}}, justice, or [[TheAtoner atonement]]. Alternatively, they are the Keeper of the Guilty Secret and want to [[UnfinishedBusiness see an old wrong righted]]. If haunting the Gloomy House, they can be bound to a specific room in it, such as an attic or a picture gallery. Examples: [[Literature/TheCastleOfOtranto Alfonso]], [[Literature/TheOldEnglishBaron Arthur Lovel]], [[Literature/WutheringHeights Catherine Earnshaw-Linton]].
# The '''[[ClassicVillain Greedy Villain]]''' is defined by their desire to possess something (usually the Family Fortune, which may or may not include the Gloomy House itself) or someone. They are often cruel and abuse their power, but may have some redeeming qualities, especially if motivated by a past injustice or revenge. An Obsessed Scientist may seek to use their invention to reclaim their riches, while an Evil Charmer will manipulate the heir(ess) into falling in love with them, then steal their fortune, while convince everyone of their innocence. Examples: [[Literature/TheMysteriesOfUdolpho Montoni]], [[Literature/WutheringHeights Heathcliff]], Literature/{{Dracula}}.
# The '''[[ChildrenAreInnocent Helpless Child]]''' is defined by their young age (they are legally a minor), innocence, and powerlessness. They are often the Ward of an Abusive Guardian, and while they typically exemplify angelic innocence, a common subversion is to make them a CreepyChild or outright [[EnfantTerrible possessed by evil]]. Either way, the Helpless Child is often also a Sickly Invalid or a True Heir. Examples: [[Literature/TheMonk Antonia]], [[Literature/JaneEyre Adèle Varens]], [[Literature/WutheringHeights Catherine Heathcliff]].
# The '''[[TheConfidant Inside Confidant]]''' is defined in relation to a Newly Arrived Outsider and the Gloomy House: specifically, they are a servant or the Outsider's colleague at the Gloomy House, whom the Outsider comes to trust and to confide in. Nevertheless, they are usually too afraid or brainwashed to reveal anything of significance to the Outsider, and may eventually betray them to the Master.
# The '''LoveInterest''' is defined in relation to the main viewpoint character and facilitates the RomanceArc.
# The '''[[UndyingLoyalty Loyal Retainer]]''' is defined in relation to their Lord, who is also often the Master of the Gloomy House -- but not necessarily, as a common TwistEnding is them having been loyal to a different Lord all along. The Retainer can be a housekeeper, a butler, a secretary, a lady's maid, perhaps even from a multi-generational LegacyOfService, and they are the most likely candidate to be a Keeper of the Guilty Secret.
# The '''[[MadnessTropes Mentally Deranged Person]]''' is defined by their madness or, at least, mental instability, be it [[TheParanoiac paranoia]], [[HystericalWoman hysteria]], [[ShellShockedVeteran PTSD]], [[ExcessiveMourning extreme grief]], the sad result of [[RoyallyScrewedUp many generations of inbreeding]], etc. They may be living in the Gloomy House in voluntary isolation to heal, or kept their against their will by embarrassed relatives, or even as the Obsessed Scientist's test subject. A common twist is to have them been [[ObfuscatingInsanity sane all along]], but either manipulated by a Greedy Villain or a Corrupt Doctor, or haunted by the Ghost.
# The '''[[TheIngenue Naive Bride]]''' is defined by their love for the Master of the Gloomy House, where they move in early on. They are usually shy, inexperienced, poor, socially inept, and lacking in a social security net, and unfortunately for them, the Master often turns out to be a Greedy Villain, an Evil Charmer, an Obsessed Scientist, or a Mentally Deranged Person, so they often end up as a Captive or even Mentally Deranged themselves before long. Examples: Literature/{{Bluebeard}}'s nameless wife, [[Literature/MelmothTheWanderer Immalee]], [[Literature/TheHunchbackOfNotreDame Esmeralda]],
# The '''[[FishOutOfWater Newly Arrived Outsider]]''' is defined by their relationship to the Gloomy House and to the rest of the cast, namely, by their ''lack'' of preexisting connections to them. Thanks to this [[NaiveNewcomer outside perspective]], they often serve as the [[AudienceSurrogate main viewpoint character]] and are commonly also a Naive Bride and/or a True Heir. Examples: [[Literature/TheMysteriesOfUdolpho Emily St. Aubert]], Literature/JaneEyre, [[Literature/{{Dracula}} Jonathan Harker]].
# The '''[[MorallyAmbiguousDoctorate Obsessed Scientist]]''' is defined by their relation to a weird technology or science and to the Test Subject they [[TestedOnHumans experiment upon]]. They can be a scientist, an alchemist, or an inventor, whether amateur or professional, and their research can range from [[ScienceIsGood benign]] to [[ScienceIsBad diabolical]]. Their Test Subject can be a Captive, a Helpless Child, or a Mentally Deranged Person, although sometimes their research is in service of curing a Sickly Invalid. If it takes a toll of the Scientist's [[ProfessorGuineaPig own health]], they can be a Sickly Invalid or [[MadScientist Mentally Deranged themselves]]. Examples: [[Literature/{{Frankenstein}} Dr. Victor Frankenstein]], [[Literature/TheStrangeCaseOfDrJekyllAndMrHyde Dr. Henry Jekyll]].
# The '''[[GrumpyOldMan Old Eccentric]]''' is defined by their advanced age and [[EccentricMillionaire relation to the Family Fortune]]. If present in the story (even posthumously, including as a Ghost), a lot of drama often surrounds their LostWillAndTestament, while in life, their eccentricity can often reach the Mentally Deranged Person level.
# The '''[[BlackSheep Semi-Outsider]]''' is defined by their relation to the Gloomy House to the family occupying it: specifically, they have a connection to the latter but aren't part of it and don't live in the former (e.g. a distant cousin who visits often). Their loyalties are commonly murky, and they often turn out to be a Love Interest and/or the True Heir.
# The '''[[DelicateAndSickly Sickly Invalid]]''' is defined by their severe illness and their reliance on the Caretaker, who is commonly a Corrupt Doctor or an Abusive Guardian. Whether they treat their Caretaker with patience or cranky demands, they need constant care and hence rarely leave the Gloomy House. The Sickly Invalid is often also a Helpless Child, an Old Eccentric, a Naive Bride, a True Heir, a Captive, or a Mentally Deranged Person.
# The '''[[RightfulKingReturns True Heir]]''' is defined by their relation to the Family Fortune or to the Gloomy House: specifically, their claim on these trumps every other Claimant's, once the circumstances and criminal conspiracies to defraud them of it are cleared up. The identity of the True Heir is rarely known from the start (unless they are a Helpless Child), so the fact that they have been the Semi-Outsider, the Loyal Retainer, the Love Interest, or even the Newly Arrived Outsider all along is usually save for the TwistEnding. Examples: [[Literature/TheCastleOfOtranto Theodore]], [[Literature/TheOldEnglishBaron Edmund Twyford]], [[Literature/WutheringHeights Catherine Heathcliff]].
Hall admits that the above list is non-exhaustive. For example, we could add TheGrotesque: a character defined by their deformity that leads to social ostracism and alienation (example: [[Literature/{{Frankenstein}} Frankenstein's Creature]], [[Literature/TheHunchbackOfNotreDame Quasimodo]], [[Literature/ThePhantomOfTheOpera Erik the Phantom]]). Nevertheless, it is easy to see how Hall's roles combine to produce the most recognizable Gothic archetypes: the Tyrant is the Master of the Gloomy House who is also a Greedy Villain, an Evil Charmer, and often a Bigamist; the Maiden is commonly a Newly Arrived Outsider, a Naive Bride, and a Captive; while the Hero is often a Semi-Outsider, a Love Interest, and the True Heir.
# The '''[[WouldHurtAChild Abusive Guardian]]''' is defined in relation to their Ward, who for one reason or another is unfit to receive the Family Fortune, so the Guardian administers it for them, while secretly planning to take it for themselves, either through [[InheritanceMurder murder]] or by marrying the Ward themselves or to their own child. If the Ward is a Helpless Child or otherwise a minor, the Guardian can be a hired tutor or an actual legal guardian. If the Ward is a Sickly Invalid or an Mentally Deranged Person, the Guardian will use it as a pretext to further isolate them. Examples: [[Literature/TheMysteriesOfUdolpho Montoni]], [[Literature/WutheringHeights Heathcliff]], [[Literature/TheWomanInWhite Count Fosco]].
# The '''Ally Outside''' is defined in relation to a Newly Arrived Outsider and the Gloomy House: specifically, they are a caring person (colleague, sibling, friend, godparent) who nonetheless cannot join the Outsider, instead providing encouragement, advice, or warning from afar.
# The '''[[GoodAdulteryBadAdultery Bigamist]]''' is defined in relation to their existing Spouse and to a Pursued character, whom they seek to wed despite already being married, either out of lust or for the latter's Family Fortune. To this end, they can deny or hide their Spouse (often in an underground chamber or [[MadwomanInTheAttic the attic]] of the Gloomy House), seek to divorce them, if only on paper (often with the help of a Corrupt Priest), or to outright poison them (with the help of a Corrupt Doctor). Alternatively, they can already be widowed, but their Spouse still haunts them or their Pursued as a Ghost. Examples: [[Literature/TheCastleOfOtranto Manfred]], [[Literature/JaneEyre Edward Rochester]], [[Literature/TheWomanInWhite Percival Glyde]].
# The '''[[BeleagueredBureaucrat Blinkered Professional]]''' is defined in relation to some Task which they must fulfill in the plot, before completely withdrawing themselves from the surrounding conflict. Often a doctor or a lawyer.
# The '''[[DamselInDistress Captive]]''' is defined in relation to their Captor, who keeps them constrained, such as a Greedy Villain or an Obsessed Scientist. The reasons they are locked up (often underground, in an attic, or [[LockedAwayInAMonastery at a monastery]]) range from [[HeKnowsTooMuch knowing the Guilty Secret]] to generally having an inconvenient existence (such as being a stronger Claimant to the Family Fortune). Examples: [[Literature/TheWomanInWhite Laura Fairlie]], [[Literature/JaneEyre Bertha Mason]], [[Literature/TheCountOfMonteCristo Edmond Dantès]].
# The '''[[DeadlyDoctor Corrupt Doctor]]''' is defined in relation to their Patient, whose illness they seek to exacerbate despite belonging to a healing profession (doctor, nurse, therapist, etc.), because because they are in cahoots with another villain, to silence the victim, or to claim their Family Fortune for themselves. The Patient is often a Sickly Invalid, a Mentally Deranged Person, a Helpless Child, or an Old Eccentric living in the Gloomy House.
# The '''[[SinisterMinister Corrupt Priest]]''' is defined in relation to their Flock, who put their trust in them as a religious professional (priest, monk/nun, shaman, spiritual leader, etc.), which they then abuse for personal gain. A corrupt Catholic priest will break the seal of the {{Confessional}}, a monk will still from charity, and a cult leader will outright incite their followers to commit crimes. Examples: [[Literature/TheMonk Mother St. Agatha]], [[Literature/TheItalian Father Schedoni]], [[Literature/TheHunchbackOfNotreDame Claude Frollo]].
# The '''[[CanineCompanion Dog]]''' is a non-human (specifically canine) character defined by its loyalty to its human Owner. It can serve as a Loyal Retainer to the Master of the Gloomy House, a treasured pet of the Newly Arrived Outsider, or an Obsessed Scientist's test subject. Alternatively, it can be a monster or even a Ghost. Either way, a Dog is usually good at sniffing things out, up to and including the Guilty Secret itself. Examples: Literature/TheHoundOfTheBaskervilles.
# The '''[[ManipulativeBastard Evil Charmer]]''' is defined by their demonic charm, likeability, and apparent trustworthiness. They seek to be liked and/or loved by everyone, usually to abuse their trust for personal gain or just to seduce the opposite sex and to ruin them for pleasure. The Evil Charmer is often also the Master of the Gloomy House, a Bigamist, a Semi-Outsider, or a Loyal Retainer. Examples: [[Literature/TheMysteriesOfUdolpho Montoni]], [[Literature/TheVampyre Lord Ruthven]], Literature/{{Carmilla}}.
# The '''[[OurGhostsAreDifferent Ghost]]''' is a literal PosthumousCharacter who haunts the living or the Gloomy House as an apparition. Most commonly, they are the victim or the perpetrator of a murder, a bigamy, or deceit over the Family Fortune and seek {{revenge}}, justice, or [[TheAtoner atonement]]. Alternatively, they are the Keeper of the Guilty Secret and want to [[UnfinishedBusiness see an old wrong righted]]. If haunting the Gloomy House, they can be bound to a specific room in it, such as an attic or a picture gallery. Examples: [[Literature/TheCastleOfOtranto Alfonso]], [[Literature/TheOldEnglishBaron Arthur Lovel]], [[Literature/WutheringHeights Catherine Earnshaw-Linton]].
# The '''[[ClassicVillain Greedy Villain]]''' is defined by their desire to possess something (usually the Family Fortune, which may or may not include the Gloomy House itself) or someone. They are often cruel and abuse their power, but may have some redeeming qualities, especially if motivated by a past injustice or revenge. An Obsessed Scientist may seek to use their invention to reclaim their riches, while an Evil Charmer will manipulate the heir(ess) into falling in love with them, then steal their fortune, while convince everyone of their innocence. Examples: [[Literature/TheMysteriesOfUdolpho Montoni]], [[Literature/WutheringHeights Heathcliff]], Literature/{{Dracula}}.
# The '''[[ChildrenAreInnocent Helpless Child]]''' is defined by their young age (they are legally a minor), innocence, and powerlessness. They are often the Ward of an Abusive Guardian, and while they typically exemplify angelic innocence, a common subversion is to make them a CreepyChild or outright [[EnfantTerrible possessed by evil]]. Either way, the Helpless Child is often also a Sickly Invalid or a True Heir. Examples: [[Literature/TheMonk Antonia]], [[Literature/JaneEyre Adèle Varens]], [[Literature/WutheringHeights Catherine Heathcliff]].
# The '''[[TheConfidant Inside Confidant]]''' is defined in relation to a Newly Arrived Outsider and the Gloomy House: specifically, they are a servant or the Outsider's colleague at the Gloomy House, whom the Outsider comes to trust and to confide in. Nevertheless, they are usually too afraid or brainwashed to reveal anything of significance to the Outsider, and may eventually betray them to the Master.
# The '''LoveInterest''' is defined in relation to the main viewpoint character and facilitates the RomanceArc.
# The '''[[UndyingLoyalty Loyal Retainer]]''' is defined in relation to their Lord, who is also often the Master of the Gloomy House -- but not necessarily, as a common TwistEnding is them having been loyal to a different Lord all along. The Retainer can be a housekeeper, a butler, a secretary, a lady's maid, perhaps even from a multi-generational LegacyOfService, and they are the most likely candidate to be a Keeper of the Guilty Secret.
# The '''[[MadnessTropes Mentally Deranged Person]]''' is defined by their madness or, at least, mental instability, be it [[TheParanoiac paranoia]], [[HystericalWoman hysteria]], [[ShellShockedVeteran PTSD]], [[ExcessiveMourning extreme grief]], the sad result of [[RoyallyScrewedUp many generations of inbreeding]], etc. They may be living in the Gloomy House in voluntary isolation to heal, or kept their against their will by embarrassed relatives, or even as the Obsessed Scientist's test subject. A common twist is to have them been [[ObfuscatingInsanity sane all along]], but either manipulated by a Greedy Villain or a Corrupt Doctor, or haunted by the Ghost.
# The '''[[TheIngenue Naive Bride]]''' is defined by their love for the Master of the Gloomy House, where they move in early on. They are usually shy, inexperienced, poor, socially inept, and lacking in a social security net, and unfortunately for them, the Master often turns out to be a Greedy Villain, an Evil Charmer, an Obsessed Scientist, or a Mentally Deranged Person, so they often end up as a Captive or even Mentally Deranged themselves before long. Examples: Literature/{{Bluebeard}}'s nameless wife, [[Literature/MelmothTheWanderer Immalee]], [[Literature/TheHunchbackOfNotreDame Esmeralda]],
# The '''[[FishOutOfWater Newly Arrived Outsider]]''' is defined by their relationship to the Gloomy House and to the rest of the cast, namely, by their ''lack'' of preexisting connections to them. Thanks to this [[NaiveNewcomer outside perspective]], they often serve as the [[AudienceSurrogate main viewpoint character]] and are commonly also a Naive Bride and/or a True Heir. Examples: [[Literature/TheMysteriesOfUdolpho Emily St. Aubert]], Literature/JaneEyre, [[Literature/{{Dracula}} Jonathan Harker]].
# The '''[[MorallyAmbiguousDoctorate Obsessed Scientist]]''' is defined by their relation to a weird technology or science and to the Test Subject they [[TestedOnHumans experiment upon]]. They can be a scientist, an alchemist, or an inventor, whether amateur or professional, and their research can range from [[ScienceIsGood benign]] to [[ScienceIsBad diabolical]]. Their Test Subject can be a Captive, a Helpless Child, or a Mentally Deranged Person, although sometimes their research is in service of curing a Sickly Invalid. If it takes a toll of the Scientist's [[ProfessorGuineaPig own health]], they can be a Sickly Invalid or [[MadScientist Mentally Deranged themselves]]. Examples: [[Literature/{{Frankenstein}} Dr. Victor Frankenstein]], [[Literature/TheStrangeCaseOfDrJekyllAndMrHyde Dr. Henry Jekyll]].
# The '''[[GrumpyOldMan Old Eccentric]]''' is defined by their advanced age and [[EccentricMillionaire relation to the Family Fortune]]. If present in the story (even posthumously, including as a Ghost), a lot of drama often surrounds their LostWillAndTestament, while in life, their eccentricity can often reach the Mentally Deranged Person level.
# The '''[[BlackSheep Semi-Outsider]]''' is defined by their relation to the Gloomy House to the family occupying it: specifically, they have a connection to the latter but aren't part of it and don't live in the former (e.g. a distant cousin who visits often). Their loyalties are commonly murky, and they often turn out to be a Love Interest and/or the True Heir.
# The '''[[DelicateAndSickly Sickly Invalid]]''' is defined by their severe illness and their reliance on the Caretaker, who is commonly a Corrupt Doctor or an Abusive Guardian. Whether they treat their Caretaker with patience or cranky demands, they need constant care and hence rarely leave the Gloomy House. The Sickly Invalid is often also a Helpless Child, an Old Eccentric, a Naive Bride, a True Heir, a Captive, or a Mentally Deranged Person.
# The '''[[RightfulKingReturns True Heir]]''' is defined by their relation to the Family Fortune or to the Gloomy House: specifically, their claim on these trumps every other Claimant's, once the circumstances and criminal conspiracies to defraud them of it are cleared up. The identity of the True Heir is rarely known from the start (unless they are a Helpless Child), so the fact that they have been the Semi-Outsider, the Loyal Retainer, the Love Interest, or even the Newly Arrived Outsider all along is usually save for the TwistEnding. Examples: [[Literature/TheCastleOfOtranto Theodore]], [[Literature/TheOldEnglishBaron Edmund Twyford]], [[Literature/WutheringHeights Catherine Heathcliff]].
Hall admits that the above list is non-exhaustive. For example, we could add TheGrotesque: a character defined by their deformity that leads to social ostracism and alienation (example: [[Literature/{{Frankenstein}} Frankenstein's Creature]], [[Literature/TheHunchbackOfNotreDame Quasimodo]], [[Literature/ThePhantomOfTheOpera Erik the Phantom]]). Nevertheless, it is easy to see how Hall's roles combine to produce the most recognizable Gothic archetypes: the Tyrant is the Master of the Gloomy House who is also a Greedy Villain, an Evil Charmer, and often a Bigamist; the Maiden is commonly a Newly Arrived Outsider, a Naive Bride, and a Captive; while the Hero is often a Semi-Outsider, a Love Interest, and the True Heir.
Is there an issue? Send a MessageReason:
None
Changed line(s) 24 (click to see context) from:
** Feminine Gothic is typically written by female authors[[note]]though this is not a rule -- some of most famous masculine Gothic was penned by Creator/MaryShelley[[/note]] and its (female) protagonist typically transgresses by attaining some knowledge forbidden to her by an authority (echoing Milton's Eve and, even more relevantly, [[Literature/EastOfTheSunAndWestOfTheMoon Psyche violating Eros' trust]]) in pursuit of romantic love. Her subsequent wandering usually ends in a [[HappilyEverAfter happy marriage]][[note]]hence [[{{Comedy}} "comedic"]] in the classical sense of the term -- in fact, most feminine Gothic plots are variations on ''Literature/BeautyAndTheBeast''[[/note]], restoring her personal Eden and suggesting that transgression may be a good thing if done for the right reasons. Stylistically, feminine Gothic typically features a single [[PointOfView omniscient third-person]] narrative voice.
to:
** Feminine Gothic is typically written by female authors[[note]]though this is not a rule -- some of most famous masculine Gothic was penned by Creator/MaryShelley[[/note]] and its (female) protagonist typically transgresses by attaining some knowledge forbidden to her by an authority (echoing Milton's Eve and, even more relevantly, [[Literature/EastOfTheSunAndWestOfTheMoon [[Myth/CupidandPsyche Psyche violating Eros' trust]]) in pursuit of romantic love. Her subsequent wandering usually ends in a [[HappilyEverAfter happy marriage]][[note]]hence [[{{Comedy}} "comedic"]] in the classical sense of the term -- in fact, most feminine Gothic plots are variations on ''Literature/BeautyAndTheBeast''[[/note]], restoring her personal Eden and suggesting that transgression may be a good thing if done for the right reasons. Stylistically, feminine Gothic typically features a single [[PointOfView omniscient third-person]] narrative voice.
Is there an issue? Send a MessageReason:
None
Changed line(s) 16 (click to see context) from:
* DarkAndTroubledPast: Gothic fiction often introduces us to its characters [[InMediasRes long after]] they have been displaced them from some initial Edenic state of bliss, to which they now long to return by [[TheAtoner atoning]] (if it was their own transgression against order and authority that displaced them) or by sticking to their virtues until the end (if they are a victim of another's transgression). Their alienation from family and society forces them to wander ([[WalkingTheEarth literally]] or [[DesperatelyLookingForAPurposeInLife metaphysically]]) in search of their lost Eden, tormented both internally and externally, by [[TheProphecy dark prophecies]], {{revenge}}, [[OurGhostsAreDifferent unquiet dead]], etc.
to:
* DarkAndTroubledPast: Gothic fiction often introduces us to its characters [[InMediasRes long after]] they have been displaced them from some initial Edenic state of bliss, to which they now long to return by [[TheAtoner atoning]] (if it was their own transgression against order and authority that displaced them) or by sticking to their virtues until the end (if they are a victim of another's transgression). Their alienation from family and society forces them to wander ([[WalkingTheEarth literally]] or [[DesperatelyLookingForAPurposeInLife metaphysically]]) in search of their lost Eden, tormented both internally and externally, by [[TheProphecy dark prophecies]], {{revenge}}, [[OurGhostsAreDifferent [[HauntingTheGuilty unquiet dead]], etc.
Is there an issue? Send a MessageReason:
Overprotective Dad has been disambiguated.
Changed line(s) 15 (click to see context) from:
* {{Romance}}: Romantic love is an important part of the Gothic, but the "romantic paradigm"[[note]]BoyMeetsGirl, Girl's [[OverprotectiveDad father figure]] [[ParentalMarriageVeto intervenes]], Boy is [[TheExile exiled]], but returns after a [[ComingOfAgeStory transformative experience]] and [[HappilyEverAfter marries Girl]][[/note]] is almost always gleefully subverted. In ''Literature/TheCastleOfOtranto'', true love is [[StarCrossedLovers torn apart by death]] and the surviving lover has to marry another, while in ''Literature/TheMonk'', Ambrosio's twisted desire for Antonia is the source of his most heinous transgressions. In "Literature/TheRaven", the narrator is driven mad by the clash of Eros (his love for [[TheLostLenore Lenore]]) and Thanatos (death taking her away), whereas in ''Literature/{{Frankenstein}}'', [[ChildhoodFriendRomance Victor and Elizabeth]]'s doomed relationship only adds to the cost of his transgression. A major exception is the [[Literature/TheMysteriesOfUdolpho "Gothic]] [[Literature/JaneEyre romance"]] [[Literature/WutheringHeights subgenre]], which lets love prevail in the end, but it is still [[ValuesDissonance subversive]] in showing the heroine as a subject, rather than an object in the romantic relationship.
to:
* {{Romance}}: Romantic love is an important part of the Gothic, but the "romantic paradigm"[[note]]BoyMeetsGirl, Girl's [[OverprotectiveDad [[BoyfriendBlockingDad father figure]] [[ParentalMarriageVeto intervenes]], Boy is [[TheExile exiled]], but returns after a [[ComingOfAgeStory transformative experience]] and [[HappilyEverAfter marries Girl]][[/note]] is almost always gleefully subverted. In ''Literature/TheCastleOfOtranto'', true love is [[StarCrossedLovers torn apart by death]] and the surviving lover has to marry another, while in ''Literature/TheMonk'', Ambrosio's twisted desire for Antonia is the source of his most heinous transgressions. In "Literature/TheRaven", the narrator is driven mad by the clash of Eros (his love for [[TheLostLenore Lenore]]) and Thanatos (death taking her away), whereas in ''Literature/{{Frankenstein}}'', [[ChildhoodFriendRomance Victor and Elizabeth]]'s doomed relationship only adds to the cost of his transgression. A major exception is the [[Literature/TheMysteriesOfUdolpho "Gothic]] [[Literature/JaneEyre romance"]] [[Literature/WutheringHeights subgenre]], which lets love prevail in the end, but it is still [[ValuesDissonance subversive]] in showing the heroine as a subject, rather than an object in the romantic relationship.
Is there an issue? Send a MessageReason:
None
Changed line(s) 85 (click to see context) from:
* {{Dream|Tropes}}s. As the purest form of romanticized Imagination, dreams in Gothic fiction are often either {{prophetic|Dream}}, or {{erotic|Dream}} (or both), with a penchant for turning nightmarish. Creator/FranciscoDeGoya's famous etching "[[https://en.wikipedia.org/wiki/The_Sleep_of_Reason_Produces_Monsters The Sleep of Reason Produces Monsters]]", while not intentionally Gothic, is a great depiction of Gothic dreaming.
to:
* {{Dream|Tropes}}s. As the purest form of romanticized Imagination, dreams in Gothic fiction are often either {{prophetic|Dream}}, or {{erotic|Dream}} (or both), with a penchant for turning nightmarish. Creator/FranciscoDeGoya's famous etching "[[https://en.[[https://en.wikipedia.org/wiki/The_Sleep_of_Reason_Produces_Monsters The Sleep of Reason Produces Monsters]]", etching]] ''Art/TheSleepOfReasonProducesMonsters'', while not intentionally Gothic, is a great depiction of Gothic dreaming.
Is there an issue? Send a MessageReason:
None
Changed line(s) 149 (click to see context) from:
* ''Franchise/{{Castlevania}}'' makes an impressive use of Gothic imagery in almost every game and as such is an excellent visual primer, but in terms of story content only a select few of the games (namely, ''VideoGame/CastlevaniaIISimonsQuest'', ''VideoGame/CastlevaniaSymphonyOfTheNight'', ''VideoGame/CastlevaniaHarmonyOfDissonance'' and ''VideoGame/CastlevaniaChroniclesOfSorrow'') are truly Gothic works; the rest are just DarkFantasy.
to:
* ''Franchise/{{Castlevania}}'' makes an impressive use of Gothic imagery in almost every game and as such is an excellent visual primer, but in terms of story content only a select few of the games (namely, ''VideoGame/CastlevaniaIISimonsQuest'', ''VideoGame/CastlevaniaSymphonyOfTheNight'', ''VideoGame/CastlevaniaHarmonyOfDissonance'' ''VideoGame/CastlevaniaHarmonyOfDissonance'', ''VideoGame/CastlevaniaAriaOfSorrow'' and ''VideoGame/CastlevaniaChroniclesOfSorrow'') ''VideoGame/CastlevaniaDawnOfSorrow'') are truly Gothic works; the rest are just DarkFantasy.
Is there an issue? Send a MessageReason:
None
Changed line(s) 115 (click to see context) from:
* The [[BigBad Tyrant]] is usually going to be a ManOfWealthAndTaste, and should usually wear the height of fashion for his era (or [[AwesomeAnachronisticApparel several years before the era you set it in]] [[Really700YearsOld if he happens to be supernaturally hundreds of years old]]. RedAndBlackAndEvilAllOver is a must for him.
to:
* The [[BigBad Tyrant]] is usually going to be a ManOfWealthAndTaste, and should usually wear the height of fashion for his era (or [[AwesomeAnachronisticApparel several years before the era you set it in]] [[Really700YearsOld if he happens to be supernaturally hundreds of years old]].old]]). RedAndBlackAndEvilAllOver is a must for him.
Changed line(s) 150 (click to see context) from:
* ''VideoGame/{{Bloodborne}}'' (2015) likewise employs a massive number of Gothic tropes, particularly in the early game, as well as more subtle [[https://www.youtube.com/watch?v=HW6_0rr1IG8 Gothic]] [[http://ontologicalgeek.com/the-weird-science-of-bloodborne/ themes]] throughout the entire story. However, it also dives head-first into LovecraftLite by mid-point, so most players end up seeing the Gothic in it as more of a RedHerring, despite the aforementioned themes.
to:
* ''VideoGame/{{Bloodborne}}'' (2015) likewise employs a massive number of Gothic tropes, particularly in the early game, as well as more subtle [[https://www.youtube.com/watch?v=HW6_0rr1IG8 Gothic]] [[http://ontologicalgeek.com/the-weird-science-of-bloodborne/ themes]] throughout the entire story. However, it also dives head-first into LovecraftLite by the mid-point, so most players end up seeing the Gothic in it as more of a RedHerring, despite the aforementioned themes.
Is there an issue? Send a MessageReason:
None
Changed line(s) 41 (click to see context) from:
** Finally, ''{{gambling|Tropes}}'' is a special kind of evil in Gothic fiction, combining elements of all of the above in one big transgressive package. It is a transgression against the Divine because TheGamblingAddict rejects the grace of God in favor of Chance; against one's family, because gambling inevitably leads to its [[TrappedByGamblingDebts financial impoverishment and moral ruin]]; and against social norms, because it allows for social advancement without birth or merit, serving as the antithesis of the [[https://en.wikipedia.org/wiki/Protestant_work_ethic Protestant work ethic]] prevalent among British middle class at the time[[note]]who considered gambling to be a [[AristocratsAreEvil vice of the aristocracy]][[/note]].
to:
** Finally, ''{{gambling|Tropes}}'' is a special kind of evil in Gothic fiction, combining elements of all of the above in one big transgressive package. It is a transgression against the Divine because TheGamblingAddict rejects the grace of God in favor of Chance; against nature, because it is unnatural to risk one's own financial well-being on a vice; against one's family, because gambling inevitably leads to its [[TrappedByGamblingDebts financial impoverishment and moral ruin]]; and against social norms, because it allows for social advancement without birth or merit, serving as the antithesis of the [[https://en.wikipedia.org/wiki/Protestant_work_ethic Protestant work ethic]] prevalent among British middle class at the time[[note]]who considered gambling to be a [[AristocratsAreEvil vice of the aristocracy]][[/note]].
Added DiffLines:
TBD
Is there an issue? Send a MessageReason:
None
Changed line(s) 35 (click to see context) from:
* Horror vs. Terror: A distinction first described by Ann Radcliffe in "On the Supernatural in Poetry", terror is the dread and suspense you feel before a horrifying experience (e.g. seeing a TrailOfBlood), while horror is the feeling of revulsion and abjection you get after it (e.g. actually discovering a decaying corpse). Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears, while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption. A third option, "revulsion" -- a visceral gag-reflex, was coined by Creator/StephenKing, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
to:
* Horror vs. Terror: A distinction first described by Ann Radcliffe Creator/AnnRadcliffe in "On the Supernatural in Poetry", terror is the dread and suspense you feel before a horrifying experience (e.g. seeing a TrailOfBlood), while horror is the feeling of revulsion and abjection you get after it (e.g. actually discovering a decaying corpse). Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears, while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption. A third option, "revulsion" -- a visceral gag-reflex, was coined by Creator/StephenKing, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
Is there an issue? Send a MessageReason:
punctuation, name spelling, wicking
Changed line(s) 35 (click to see context) from:
* Horror vs. Terror: A distinction first described by Ann Radcliffe in On the Supernatural in Poetry, terror is the dread and suspense you feel before a horrifying experience (e.g. seeing a TrailOfBlood), while horror is the feeling of revulsion and abjection you get after it (e.g. actually discovering a decaying corpse). Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears, while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption. A third option, "revulsion" — a visceral gag-reflex, was coined by Steven King, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
to:
* Horror vs. Terror: A distinction first described by Ann Radcliffe in On "On the Supernatural in Poetry, Poetry", terror is the dread and suspense you feel before a horrifying experience (e.g. seeing a TrailOfBlood), while horror is the feeling of revulsion and abjection you get after it (e.g. actually discovering a decaying corpse). Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears, while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption. A third option, "revulsion" — -- a visceral gag-reflex, was coined by Steven King, Creator/StephenKing, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
Is there an issue? Send a MessageReason:
None
Changed line(s) 35 (click to see context) from:
* Horror vs. Terror: A distinction first described by Ann Radcliffe in On the Supernatural in Poetry, terror is the dread and suspense you feel before a horrifying experiencenote (e.g. seeing a TrailOfBlood), while horror is the feeling of revulsion and abjection you get after itnote (e.g. actually discovering a decaying corpse). Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears, while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption. A third option, "revulsion" — a visceral gag-reflex, was coined by Steven King, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
to:
* Horror vs. Terror: A distinction first described by Ann Radcliffe in On the Supernatural in Poetry, terror is the dread and suspense you feel before a horrifying experiencenote experience (e.g. seeing a TrailOfBlood), while horror is the feeling of revulsion and abjection you get after itnote it (e.g. actually discovering a decaying corpse). Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears, while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption. A third option, "revulsion" — a visceral gag-reflex, was coined by Steven King, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
Is there an issue? Send a MessageReason:
Shortened paragraph.
Changed line(s) 34 (click to see context) from:
* [[https://en.wikipedia.org/wiki/Horror_and_terror Horror vs. Terror]]: A distinction first described by Creator/AnnRadcliffe in ''On the Supernatural in Poetry'', terror is the [[NothingIsScarier dread and suspense]] you feel ''before'' a horrifying experience[[note]]e.g. seeing a TrailOfBlood[[/note]], while horror is the feeling of revulsion and [[https://en.wikipedia.org/wiki/Abjection abjection]] you get ''after'' it[[note]]e.g. actually discovering a decaying corpse[[/note]]; another way to put it is that terror is the fear of what ''might be'', while horror is the fear of what ''is''. Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears (often [[ScoobyDooHoax discovering them to be overblown]]), while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption (often expressed in supernatural events). Radcliffe argued that terror is the prime source of [[https://en.wikipedia.org/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful Burkean Sublime]], while horror was later strongly associated with the Uncanny by [[UsefulNotes/SigmundFreud Freud]] (see Potential Motifs for more on the Sublime and the Uncanny). Lastly, Creator/StephenKing in ''Literature/DanseMacabre'' has introduced a third option, "revulsion" -- a visceral gag-reflex, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
to:
*
Is there an issue? Send a MessageReason:
None
Changed line(s) 47 (click to see context) from:
** Instead of Lovecraftian eldritch abominations, you can instead go with abstract "dark powers" -- a concept primarily codified by ''TabletopGame/{{Ravenloft}}''. Unlike Lovecraft's alien deities, who are inherently unknowable by and indifferent to humanity, Gothic "dark powers" are inhuman, otherworldly intelligences who nevertheless follow comprehensible rules (and [[HorrorHatesARulebreaker punish anyone who breaks them]]) and are very keenly interested in watching [[TragicHero intense individuals fall to their own corruption and flaws]]. While not proactively malicious, they can grant supernatural powers or knowledge to Gothic villains, but unlike a classical FaustianBargain, these deals merely give them [[GoneHorriblyRight enough rope to hang themselves with]]. The role of dark powers in a Gothic story is thus not to drive conflict, but to empower passionate but flawed individuals, making their fall all the more spectacular, and to manifest their corruption and transgressions in tangible, grotesque forms. They [[MaybeMagicMaybeMundane don't even have to explicitly exist]] in the text: [[Literature/{{Frankenstein}} Victor Frankenstein's]] invention can be viewed as some dark power's reward for his passion that allows him to transgress the boundary of life and death, produces a [[FrankensteinsMonster grotesque manifestation]] of this transgression, and ultimately destroys him and everything he holds dear.
to:
** Instead of Lovecraftian eldritch abominations, you can instead go with abstract "dark powers" -- a concept primarily codified by ''TabletopGame/{{Ravenloft}}''. Unlike Lovecraft's alien deities, who are inherently unknowable by and indifferent to humanity, Gothic "dark powers" are inhuman, otherworldly intelligences who nevertheless follow comprehensible rules (and [[HorrorHatesARulebreaker punish anyone who breaks them]]) and are very keenly interested in watching [[TragicHero intense individuals fall falling to their own corruption and flaws]]. While not proactively malicious, they can grant supernatural powers or knowledge to Gothic villains, but unlike a classical FaustianBargain, these deals merely give them [[GoneHorriblyRight enough rope to hang themselves with]]. The role of dark powers in a Gothic story is thus not to drive conflict, but to empower passionate but flawed individuals, making to make their fall all the more spectacular, and to manifest their corruption and transgressions in tangible, grotesque forms. They [[MaybeMagicMaybeMundane don't even have to explicitly exist]] in the your text: [[Literature/{{Frankenstein}} Victor Frankenstein's]] invention can be viewed as some dark power's reward boon for his passion that allows lets him to transgress the boundary of life and death, produces a [[FrankensteinsMonster grotesque manifestation]] of this transgression, and ultimately destroys him and everything he holds dear.
Is there an issue? Send a MessageReason:
None
Changed line(s) 41 (click to see context) from:
* Gothic fiction is rife with [[SupernaturalFiction beings and events outside the accepted confines of nature]], as well as various omens, portents, and visions, but whether the supernatural is real in-story or merely all a ScoobyDooHoax is up to you. There are two schools in Gothic fiction regarding the supernatural: the classic[[note]]a.k.a. "accepted supernatural"[[/note]] school, originating with [[Literature/TheCastleOfOtranto Horace Walpole]] and carrying through most of the masculine Gothic tradition, treats the supernatural as real; whereas the [[Literature/TheMysteriesOfUdolpho Radcliffe]][[note]]a.k.a. "explained supernatural"[[/note]] school (whose adherents include the Brontës) tends to provide rational explanations for "supernatural" events, at most leaning towards MaybeMagicMaybeMundane[[note]]after all, we never learn whether [[Literature/WutheringHeights Heathcliff]] was ''actually'' 100% human[[/note]]. Both approaches are equally valid, because the supernatural is not the point of Gothic fiction, but merely a tool to showcase the darker sides of humanity. However, even non-supernatural stories like ''Literature/JaneEyre'' usually have numerous mentions of folktales, ghost stories and the like.
to:
* Gothic fiction is rife with [[SupernaturalFiction beings and events outside the accepted confines of nature]], as well as various omens, portents, and visions, but whether the supernatural is real in-story or merely all a ScoobyDooHoax is up to you. There are two schools in Gothic fiction regarding the supernatural: the classic[[note]]a.k.a. "accepted supernatural"[[/note]] school, originating with [[Literature/TheCastleOfOtranto Horace Walpole]] and carrying through most of the masculine Gothic tradition, treats the supernatural as real; whereas the [[Literature/TheMysteriesOfUdolpho Radcliffe]][[note]]a.k.a. "explained supernatural"[[/note]] school (whose adherents include the Brontës) tends to provide rational explanations for "supernatural" events, at most leaning towards MaybeMagicMaybeMundane[[note]]after all, we never learn whether [[Literature/WutheringHeights Heathcliff]] was ''actually'' 100% human[[/note]]. Both approaches are equally valid, because the supernatural is not the point of Gothic fiction, but merely a tool to showcase the darker sides of humanity. However, humanity, and even non-supernatural stories like ''Literature/JaneEyre'' usually have numerous mentions of folktales, ghost stories and the like.like. The related genre of [[https://en.wikipedia.org/wiki/Sensation_novel sensation novel]] borrowed a lot of the Gothic shocking, but realistic themes while not relying on the supernatural at all.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** Instead of Lovecraftian eldritch abominations, you can instead go with abstract "dark powers" -- a concept primarily codified by ''TabletopGame/{{Ravenloft}}''. Unlike Lovecraft's alien deities, who are inherently unknowable by and indifferent to humanity, Gothic "dark powers" are inhuman, otherworldly intelligences who nevertheless follow comprehensible rules (and [[HorrorHatesARulebreaker punish anyone who breaks them]]) and are very keenly interested in watching [[TragicHero intense individuals fall to their own corruption and flaws]]. While not proactively malicious, they can grant supernatural powers or knowledge to Gothic villains, but unlike a classical FaustianBargain, these deals merely give them [[GoneHorriblyRight enough rope to hang themselves with]]. The role of dark powers in a Gothic story is thus not to drive conflict, but to empower passionate but flawed individuals, making their fall all the more spectacular, and to manifest their corruption and transgressions in tangible, grotesque forms. They [[MaybeMagicMaybeMundane don't even have to explicitly exist]] in the text: [[Literature/{{Frankenstein}} Victor Frankenstein's]] invention can be viewed as some dark power's reward for his passion that allows him to transgress the boundary of life and death, produces a [[FrankensteinsMonster grotesque manifestation]] of this transgression, and ultimately destroys him and everything he holds dear.
Is there an issue? Send a MessageReason:
wick cleaning
Changed line(s) 38 (click to see context) from:
** Transgression ''against family'' runs the gamut from [[InfidelityIndex marital infidelity]] to {{incest|IsRelative}} and is particularly insidious, given how important family is in the genre. On the other hand, Gothic fiction often presents the institute of [[https://en.wikipedia.org/wiki/Primogeniture primogeniture]] as transgressive against family[[note]]echoing ''Paradise Lost'', where it belies both Satan and Eve's respective fall[[/note]], resulting in a number of second sons, first-born daughters, and [[BastardBastard bastards]] cast as sympathetic victim-villains.
to:
** Transgression ''against family'' runs the gamut from [[InfidelityIndex marital infidelity]] infidelity to {{incest|IsRelative}} incest and is particularly insidious, given how important family is in the genre. On the other hand, Gothic fiction often presents the institute of [[https://en.wikipedia.org/wiki/Primogeniture primogeniture]] as transgressive against family[[note]]echoing ''Paradise Lost'', where it belies both Satan and Eve's respective fall[[/note]], resulting in a number of second sons, first-born daughters, and [[BastardBastard bastards]] cast as sympathetic victim-villains.
Is there an issue? Send a MessageReason:
None
Changed line(s) 13 (click to see context) from:
* [[HorrorHatesARulebreaker Transgression]]: Like much of {{Romanticism}}, Gothic fiction is firmly rooted in the presupposition of a [[https://en.wikipedia.org/wiki/Great_chain_of_being "natural" order of things]] both in the universe and in the society and concerns {{rebel|Tropes}}lion against said order and/or the {{authority|Tropes}} imposing it. As romanticism's more [[SlidingScaleofIdealismVsCynicism Cynical]] DarkerAndEdgier side however, the Gothic refuses to celebrate this rebellion and instead frames it as a transgression, exploring its consequences for both the perpetrator and innocent victims. Transgression against natural order tends to be epic in scope (think [[Literature/{{Frankenstein}} Dr. Frankenstein trying and failing to play God]]), while transgression against (conservative, patriarchal) social order tends to be more personal (think [[Literature/TheMysteriesOfUdolpho Emily St. Aubert repeatedly defying her father and Count Montoni]]) -- more on them in the Choices section. Either way, Gothic "horror" is always about the human cost of transgression, rather than just being scary.
to:
* [[HorrorHatesARulebreaker Transgression]]: Like much of {{Romanticism}}, Gothic fiction is firmly rooted in the presupposition of a [[https://en.wikipedia.org/wiki/Great_chain_of_being "natural" order of things]] both in the universe and in the society and concerns {{rebel|Tropes}}lion against said order and/or the {{authority|Tropes}} imposing it. As romanticism's more [[SlidingScaleofIdealismVsCynicism Cynical]] cynical]], DarkerAndEdgier side side, however, the Gothic refuses to celebrate this rebellion and instead frames it as a transgression, exploring its consequences for both the perpetrator and innocent victims. Transgression against natural order tends to be epic in scope (think [[Literature/{{Frankenstein}} Dr. Frankenstein trying and failing to play God]]), while transgression against (conservative, patriarchal) social order tends to be more personal (think [[Literature/TheMysteriesOfUdolpho Emily St. Aubert repeatedly defying her father and Count Montoni]]) -- more on them in the Choices section. Either way, Gothic "horror" is always about the human cost of transgression, rather than just being scary.
Is there an issue? Send a MessageReason:
None
Changed line(s) 13 (click to see context) from:
* [[HorrorHatesARulebreaker Transgression]]: Like much of {{Romanticism}}, Gothic fiction is firmly rooted in the presupposition of a [[https://en.wikipedia.org/wiki/Great_chain_of_being "natural" order of things]] both in the universe and in the society and concerns {{rebel|Tropes}}lion against said order and/or the {{authority|Tropes}} imposing it. As romanticism's more [[SlidingScaleofIdealismAndCynicism Cynical]] DarkerAndEdgier side, however, the Gothic refuses to celebrate this rebellion and instead frames it as a transgression, exploring its consequences for both the perpetrator and innocent victims. Transgression against natural order tends to be epic in scope (think [[Literature/{{Frankenstein}} Dr. Frankenstein trying and failing to play God]]), while transgression against (conservative, patriarchal) social order tends to be more personal (think [[Literature/TheMysteriesOfUdolpho Emily St. Aubert repeatedly defying her father and Count Montoni]]) -- more on them in the Choices section. Either way, Gothic "horror" is always about the human cost of transgression, rather than just being scary.
to:
* [[HorrorHatesARulebreaker Transgression]]: Like much of {{Romanticism}}, Gothic fiction is firmly rooted in the presupposition of a [[https://en.wikipedia.org/wiki/Great_chain_of_being "natural" order of things]] both in the universe and in the society and concerns {{rebel|Tropes}}lion against said order and/or the {{authority|Tropes}} imposing it. As romanticism's more [[SlidingScaleofIdealismAndCynicism [[SlidingScaleofIdealismVsCynicism Cynical]] DarkerAndEdgier side, side however, the Gothic refuses to celebrate this rebellion and instead frames it as a transgression, exploring its consequences for both the perpetrator and innocent victims. Transgression against natural order tends to be epic in scope (think [[Literature/{{Frankenstein}} Dr. Frankenstein trying and failing to play God]]), while transgression against (conservative, patriarchal) social order tends to be more personal (think [[Literature/TheMysteriesOfUdolpho Emily St. Aubert repeatedly defying her father and Count Montoni]]) -- more on them in the Choices section. Either way, Gothic "horror" is always about the human cost of transgression, rather than just being scary.
Is there an issue? Send a MessageReason:
None
Changed line(s) 13 (click to see context) from:
* [[HorrorHatesARulebreaker Transgression]]: Like much of {{Romanticism}}, Gothic fiction is firmly rooted in the presupposition of a [[https://en.wikipedia.org/wiki/Great_chain_of_being "natural" order of things]] both in the universe and in the society and concerns {{rebel|Tropes}}lion against said order and/or the {{authority|Tropes}} imposing it. As romanticism's DarkerAndEdgier side, however, the Gothic refuses to celebrate this rebellion and instead frames it as a transgression, exploring its consequences for both the perpetrator and innocent victims. Transgression against natural order tends to be epic in scope (think [[Literature/{{Frankenstein}} Dr. Frankenstein trying and failing to play God]]), while transgression against (conservative, patriarchal) social order tends to be more personal (think [[Literature/TheMysteriesOfUdolpho Emily St. Aubert repeatedly defying her father and Count Montoni]]) -- more on them in the Choices section. Either way, Gothic "horror" is always about the human cost of transgression, rather than just being scary.
to:
* [[HorrorHatesARulebreaker Transgression]]: Like much of {{Romanticism}}, Gothic fiction is firmly rooted in the presupposition of a [[https://en.wikipedia.org/wiki/Great_chain_of_being "natural" order of things]] both in the universe and in the society and concerns {{rebel|Tropes}}lion against said order and/or the {{authority|Tropes}} imposing it. As romanticism's more [[SlidingScaleofIdealismAndCynicism Cynical]] DarkerAndEdgier side, however, the Gothic refuses to celebrate this rebellion and instead frames it as a transgression, exploring its consequences for both the perpetrator and innocent victims. Transgression against natural order tends to be epic in scope (think [[Literature/{{Frankenstein}} Dr. Frankenstein trying and failing to play God]]), while transgression against (conservative, patriarchal) social order tends to be more personal (think [[Literature/TheMysteriesOfUdolpho Emily St. Aubert repeatedly defying her father and Count Montoni]]) -- more on them in the Choices section. Either way, Gothic "horror" is always about the human cost of transgression, rather than just being scary.
Is there an issue? Send a MessageReason:
None
Changed line(s) 73 (click to see context) from:
** The [[SanitySlippage line between Rationality and Madness]] has been explored in literature [[Theatre/KingLear long]] [[Theatre/{{Hamlet}} before]] [[Literature/DonQuixote Gothic]], but Gothic madness in particular is a fascinating cocktail of misunderstanding and prejudice. It is directly linked to [[InsaneEqualsViolent violence and crime]], strongly gendered (Gothic madmen typically suffer from [[TheIndexIsWatchingYou paranoia]] and [[MadwomanInTheAttic madwomen]], from "{{hysteri|calWoman}}a"), and, post-Darwin, [[https://en.wikipedia.org/wiki/Atavism atavistic]]. Specifically, many late Victorians viewed madness as "slipping back" to a more primitive and irrational stage of evolution, which in the context of [[SlobsVersusSnobs Victorian classism]] was associated with foreigners and lower classes.
to:
** The [[SanitySlippage line between Rationality and Madness]] has been explored in literature [[Theatre/KingLear long]] [[Theatre/{{Hamlet}} before]] [[Literature/DonQuixote Gothic]], but Gothic madness in particular is a fascinating cocktail of misunderstanding and prejudice. It is directly linked to [[InsaneEqualsViolent violence and crime]], strongly gendered (Gothic madmen typically suffer from [[TheIndexIsWatchingYou [[TheParanoiac paranoia]] and [[MadwomanInTheAttic madwomen]], from "{{hysteri|calWoman}}a"), and, post-Darwin, [[https://en.wikipedia.org/wiki/Atavism atavistic]]. Specifically, many late Victorians viewed madness as "slipping back" to a more primitive and irrational stage of evolution, which in the context of [[SlobsVersusSnobs Victorian classism]] was associated with foreigners and lower classes.
Is there an issue? Send a MessageReason:
None
Changed line(s) 89 (click to see context) from:
* HypnoticEyes. Originally an attribute of the WanderingJew, the strange, mesmerizing eyes have since become a [[RedRightHand telltale sign]] of Gothic wanderers since at least ''Literature/MelmothTheWanderer''.
to:
* HypnoticEyes. Originally an attribute of the WanderingJew, the strange, mesmerizing eyes have since become a [[RedRightHand telltale sign]] of Gothic wanderers since at least ''Literature/MelmothTheWanderer''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 16 (click to see context) from:
* DarkAndTroubledPast: Gothic fiction often introduces us to its characters [[InMediasRes long after]] they have been displaced them from some initial Edenic state of bliss, to which they now long to return by [[TheAtoner atoning]] (if it was their own transgression against order and authority that displaced them) or by sticking to their virtues until the end (if they are a victim of another's transgression). Their alienation from family and society forces them to wander ([[WalkingTheEarth literally]] or [[DesperatelyLookingForAPurposeInLife metaphysically]]) in search of their lost Eden, tormented both internally and extenally, by [[TheProphecy dark prophecies]], {{revenge}}, [[OurGhostsAreDifferent unquiet dead]], etc.
to:
* DarkAndTroubledPast: Gothic fiction often introduces us to its characters [[InMediasRes long after]] they have been displaced them from some initial Edenic state of bliss, to which they now long to return by [[TheAtoner atoning]] (if it was their own transgression against order and authority that displaced them) or by sticking to their virtues until the end (if they are a victim of another's transgression). Their alienation from family and society forces them to wander ([[WalkingTheEarth literally]] or [[DesperatelyLookingForAPurposeInLife metaphysically]]) in search of their lost Eden, tormented both internally and extenally, externally, by [[TheProphecy dark prophecies]], {{revenge}}, [[OurGhostsAreDifferent unquiet dead]], etc.
Is there an issue? Send a MessageReason:
None
Changed line(s) 28 (click to see context) from:
** The Gothic (particularly Ann Radcliffe's) was hugely popular in Imperial Russia, with the [[UrExample first original]] Russian Gothic novel, ''The Island of Bornholm'', published by [[https://en.wikipedia.org/wiki/Nikolay_Karamzin Nikolay Karamzin]] in 1794 (same year as ''Literature/TheMysteriesOfUdolpho''). The [[TropeCodifier king of Russian Gothic]], however, was Creator/NikolaiGogol, who wrote several Gothic short stories based on the Cossack lifestyle, Ukrainian folklore, and Orthodox Christianity in the early 1830s, including "St. John's Eve", "Literature/ATerribleVengeance", "The Portrait", and "Literature/{{Viy}}".
to:
** The Gothic (particularly Ann Radcliffe's) Creator/AnnRadcliffe's) was hugely popular in Imperial Russia, with the [[UrExample first original]] Russian Gothic novel, ''The Island of Bornholm'', published by [[https://en.wikipedia.org/wiki/Nikolay_Karamzin Nikolay Karamzin]] in 1794 (same year as ''Literature/TheMysteriesOfUdolpho''). The [[TropeCodifier king of Russian Gothic]], however, was Creator/NikolaiGogol, who wrote several Gothic short stories based on the Cossack lifestyle, Ukrainian folklore, and Orthodox Christianity in the early 1830s, including "St. John's Eve", "Literature/ATerribleVengeance", "The Portrait", and "Literature/{{Viy}}".
Changed line(s) 34 (click to see context) from:
* [[https://en.wikipedia.org/wiki/Horror_and_terror Horror vs. Terror]]: A distinction first described by Ann Radcliffe in ''On the Supernatural in Poetry'', terror is the [[NothingIsScarier dread and suspense]] you feel ''before'' a horrifying experience[[note]]e.g. seeing a TrailOfBlood[[/note]], while horror is the feeling of revulsion and [[https://en.wikipedia.org/wiki/Abjection abjection]] you get ''after'' it[[note]]e.g. actually discovering a decaying corpse[[/note]]; another way to put it is that terror is the fear of what ''might be'', while horror is the fear of what ''is''. Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears (often [[ScoobyDooHoax discovering them to be overblown]]), while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption (often expressed in supernatural events). Radcliffe argued that terror is the prime source of [[https://en.wikipedia.org/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful Burkean Sublime]], while horror was later strongly associated with the Uncanny by [[UsefulNotes/SigmundFreud Freud]] (see Potential Motifs for more on the Sublime and the Uncanny). Lastly, Creator/StephenKing in ''Literature/DanseMacabre'' has introduced a third option, "revulsion" -- a visceral gag-reflex, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
to:
* [[https://en.wikipedia.org/wiki/Horror_and_terror Horror vs. Terror]]: A distinction first described by Ann Radcliffe Creator/AnnRadcliffe in ''On the Supernatural in Poetry'', terror is the [[NothingIsScarier dread and suspense]] you feel ''before'' a horrifying experience[[note]]e.g. seeing a TrailOfBlood[[/note]], while horror is the feeling of revulsion and [[https://en.wikipedia.org/wiki/Abjection abjection]] you get ''after'' it[[note]]e.g. actually discovering a decaying corpse[[/note]]; another way to put it is that terror is the fear of what ''might be'', while horror is the fear of what ''is''. Terror is associated more with the feminine Gothic, whose heroines must repeatedly face their own fears (often [[ScoobyDooHoax discovering them to be overblown]]), while horror is more of a masculine Gothic thing, whose protagonists are traumatized by their confrontation with mortality, irrationality, and corruption (often expressed in supernatural events). Radcliffe argued that terror is the prime source of [[https://en.wikipedia.org/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful Burkean Sublime]], while horror was later strongly associated with the Uncanny by [[UsefulNotes/SigmundFreud Freud]] (see Potential Motifs for more on the Sublime and the Uncanny). Lastly, Creator/StephenKing in ''Literature/DanseMacabre'' has introduced a third option, "revulsion" -- a visceral gag-reflex, which he sees as the lowest form of scariness that relies on cheap gore instead of psychological nuance.
Changed line(s) 133 (click to see context) from:
* ''Literature/TheMysteriesOfUdolpho'' (1794) by Ann Radcliffe is the foundational novel of the Gothic romance subgenre, of the feminine Gothic tradition, of the Female Wanderer archetype, and of the [[ScoobyDooHoax "explained supernatural"]] school. It also [[TropeCodifier codified]] the Tyrant/Maiden dynamic (although Walpole [[UrExample did it first]]). In spite of its influence, however, the book was relegated to the GirlShowGhetto for much of the genre's history, and its PurpleProse was considered florid and overwrought even at the time, so use with some caution.
to:
* ''Literature/TheMysteriesOfUdolpho'' (1794) by Ann Radcliffe Creator/AnnRadcliffe is the foundational novel of the Gothic romance subgenre, of the feminine Gothic tradition, of the Female Wanderer archetype, and of the [[ScoobyDooHoax "explained supernatural"]] school. It also [[TropeCodifier codified]] the Tyrant/Maiden dynamic (although Walpole [[UrExample did it first]]). In spite of its influence, however, the book was relegated to the GirlShowGhetto for much of the genre's history, and its PurpleProse was considered florid and overwrought even at the time, so use with some caution.
Is there an issue? Send a MessageReason:
Not So Different has been renamed, and it needs to be dewicked/moved
Changed line(s) 75 (click to see context) from:
** The [[SonOfAnApe line between Man and Beast]] came to prominence after UsefulNotes/CharlesDarwin published his ''On the Origin of Species'' in 1859, confronting his contemporaries with the reality that they are NotSoDifferent from apes. The resulting cultural anxiety was sublimated by the Gothic in the animal transformations of its monster-villains like Literature/{{Carmilla}} and Literature/{{Dracula}} and, perhaps in its purest form, in ''Literature/TheStrangeCaseOfDrJekyllAndMrHyde''. Note, however, that [[OurWerewolvesAreDifferent werewolves]], despite their current position as [[FurAgainstFang "classic" Gothic monsters alongside vampires]], didn't become a genre staple until ''Literature/{{The Werewolf of Paris}}'' (1933) or even ''Film/{{The Wolf Man|1941}}'' (1941) -- decades after the Victorian era ended.
to:
** The [[SonOfAnApe line between Man and Beast]] came to prominence after UsefulNotes/CharlesDarwin published his ''On the Origin of Species'' in 1859, confronting his contemporaries with the reality that they are NotSoDifferent aren't that different from apes. The resulting cultural anxiety was sublimated by the Gothic in the animal transformations of its monster-villains like Literature/{{Carmilla}} and Literature/{{Dracula}} and, perhaps in its purest form, in ''Literature/TheStrangeCaseOfDrJekyllAndMrHyde''. Note, however, that [[OurWerewolvesAreDifferent werewolves]], despite their current position as [[FurAgainstFang "classic" Gothic monsters alongside vampires]], didn't become a genre staple until ''Literature/{{The Werewolf of Paris}}'' (1933) or even ''Film/{{The Wolf Man|1941}}'' (1941) -- decades after the Victorian era ended.
Changed line(s) 79 (click to see context) from:
* ''Doubling'' is a ubiquitous narrative and psychological motif in Gothic fiction. While doubles of all sorts, from CreepyTwins to {{Doppelganger}}s, are uncanny thanks to our wariness of anything that is both distinct and indistinguishable, Gothic doubling goes deeper than these straightforward examples. Its two primary modes are doubling proper, when two [[{{Foil}} distinct things parallel each other]], and self-division, where a whole is separated in two parts. Doubling proper is often used to [[NotSoDifferent blur the line]] between the Self and the [[https://en.wikipedia.org/wiki/Other_(philosophy) Other]], exposing the anxieties caused by the weakening of the class, gender, racial, and national boundaries. Self-division, meanwhile, draws a ''new'' boundary within the previously whole, such as a gap between one's [[JekyllAndHyde respectable facade and repressed antisocial urges]], or the growing class divide of capitalist VictorianLondon. Both variations have also been used to explore anxieties around identity theft, e.g. in ''Literature/TheWomanInWhite'' and ''[[Literature/TheStrangeCaseOfDrJekyllAndMrHyde Dr. Jekyll and Mr. Hyde]]'', respectively.
to:
* ''Doubling'' is a ubiquitous narrative and psychological motif in Gothic fiction. While doubles of all sorts, from CreepyTwins to {{Doppelganger}}s, are uncanny thanks to our wariness of anything that is both distinct and indistinguishable, Gothic doubling goes deeper than these straightforward examples. Its two primary modes are doubling proper, when two [[{{Foil}} distinct things parallel each other]], and self-division, where a whole is separated in two parts. Doubling proper is often used to [[NotSoDifferent blur the line]] line between the Self and the [[https://en.wikipedia.org/wiki/Other_(philosophy) Other]], exposing the anxieties caused by the weakening of the class, gender, racial, and national boundaries. Self-division, meanwhile, draws a ''new'' boundary within the previously whole, such as a gap between one's [[JekyllAndHyde respectable facade and repressed antisocial urges]], or the growing class divide of capitalist VictorianLondon. Both variations have also been used to explore anxieties around identity theft, e.g. in ''Literature/TheWomanInWhite'' and ''[[Literature/TheStrangeCaseOfDrJekyllAndMrHyde Dr. Jekyll and Mr. Hyde]]'', respectively.
Is there an issue? Send a MessageReason:
None
Changed line(s) 64 (click to see context) from:
* Past vs. Present: Many works of Gothic fiction deliberately juxtapose modernity and the archaic, e.g. contrasting the bustle of VictorianLondon with a sleepy backwater village or a crumbling HauntedCastle. The Present in the Gothic is not an evolution of the Past, but a sudden juxtaposition, a revolution, a clash. The Past itself is persistent; it erupts and deranges the Present, no matter how much the latter wants it forgotten and gone. [[OurGhostsAreDifferent Ghosts]] are one of the most enduring elements of the genre because they are the perfect metaphor for this particular view of the Past and its relationship with the Present. Another quintessentially Gothic metaphor, one for the Past repressed by the Present, is the MadwomanInTheAttic. Related themes include:
to:
* Past vs. Present: Many works of Gothic fiction deliberately juxtapose modernity and the archaic, e.g. contrasting the bustle of VictorianLondon [[TheCityVsTheCountry with a sleepy backwater village village]] or a crumbling HauntedCastle. The Present in the Gothic is not an evolution of the Past, but a sudden juxtaposition, a revolution, a clash. The Past itself is persistent; it erupts and deranges the Present, no matter how much the latter wants it forgotten and gone. [[OurGhostsAreDifferent Ghosts]] are one of the most enduring elements of the genre because they are the perfect metaphor for this particular view of the Past and its relationship with the Present. Another quintessentially Gothic metaphor, one for the Past repressed by the Present, is the MadwomanInTheAttic. Related themes include:
Is there an issue? Send a MessageReason:
None
Changed line(s) 29 (click to see context) from:
** The French Gothic tradition largely largely echewed the supernatural in favor of exploring the darker sides of humanity, exemplified by works [[https://thegothicwanderer.wordpress.com/2020/08/07/gothic-existentialism-in-victor-hugos-notre-dame-de-paris/ from]] ''Literature/TheHunchbackOfNotreDame'', [[https://thegothicwanderer.wordpress.com/2020/05/16/the-forgotten-gothic-the-count-of-monte-cristo/ through]] ''Literature/TheCountOfMonteCristo'', to ''Literature/ThePhantomOfTheOpera''.
to:
** The French Gothic tradition largely largely echewed the supernatural in favor of exploring the darker sides of humanity, exemplified by works [[https://thegothicwanderer.wordpress.com/2020/08/07/gothic-existentialism-in-victor-hugos-notre-dame-de-paris/ from]] ''Literature/TheHunchbackOfNotreDame'', [[https://thegothicwanderer.wordpress.com/2020/05/16/the-forgotten-gothic-the-count-of-monte-cristo/ through]] ''Literature/TheCountOfMonteCristo'', ''Literature/TheCountOfMonteCristo'' and ''Literature/TheCastleInTransylvania'', to ''Literature/ThePhantomOfTheOpera''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 68 (click to see context) from:
** The [[SatanicArchetype Satanic Wanderer]] is characterized by his {{Pride}}, which both strips him of Eden and makes him reject his punishment and any offers of atonement, -- instead he seeks to reclaim it through an even greater transgression. Masculine Gothic fiction both condemns him for this and puts him up as a [[TheParagonAlwaysRebels Promethean]] figure, producing a morally ambiguous Gothic villain. The Satanic Wanderer sees himself (and is often presented) as a [[CoolPeopleRebelAgainstAuthority hero in his defiance of authority]], but usually [[UnfitForGreatness fails to actually be one]] and only leads others astray. Unsurprisingly, there is a significant overlap between him and the ByronicHero. Famous Satanic Wanderers include [[Literature/{{Frankenstein}} Dr. Frankenstein]], [[Literature/TheVampyre Lord Ruthven]], and [[Literature/WutheringHeights Heathcliff]].
to:
** The [[SatanicArchetype Satanic Wanderer]] is characterized by his {{Pride}}, which both strips him of Eden and makes him reject his punishment and any offers of atonement, -- instead he seeks to reclaim it through an even greater transgression. Masculine Gothic fiction both condemns him for this and puts him up as a [[TheParagonAlwaysRebels Promethean]] figure, producing a morally ambiguous Gothic villain. The Satanic Wanderer sees himself (and is often presented) as a [[CoolPeopleRebelAgainstAuthority hero in his defiance of authority]], but usually [[UnfitForGreatness fails to actually be one]] and only leads others astray. Unsurprisingly, there is a significant overlap between him and the ByronicHero. Famous Satanic Wanderers include [[Literature/{{Frankenstein}} Dr. Frankenstein]], [[Literature/TheVampyre Lord Ruthven]], and [[Literature/WutheringHeights Heathcliff]].Heathcliff]] and [[Theatre/SweeneyToddTheDemonBarberOfFleetStreet Sweeney Todd]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 80 (click to see context) from:
* The {{Uncanny|Valley}} is anything that is familiar to us but somehow ''off'', and detailed descriptions of uncanny things are a big part of the Gothic "horror". Most commonly, the Uncanny is found in things that look human but aren't: [[OfCorpseHesAlive corpses]], [[CreepyDoll lifelike dolls]], [[WaxMuseumMorgue wax figures]], [[RidiculouslyHumanRobots automata]], [[LooksLikeOrlok vampires]], etc.
to:
* The {{Uncanny|Valley}} {{Uncanny|Atmosphere}} is anything that is familiar to us but somehow ''off'', and detailed descriptions of uncanny things are a big part of the Gothic "horror". Most commonly, the Uncanny is found in things that look human but aren't: [[OfCorpseHesAlive corpses]], [[CreepyDoll lifelike dolls]], [[WaxMuseumMorgue wax figures]], [[RidiculouslyHumanRobots automata]], [[LooksLikeOrlok vampires]], etc.
Is there an issue? Send a MessageReason:
it wasn't used as a trope, but as a link to a list of tropes related to marital infidelity
Changed line(s) 38 (click to see context) from:
** Transgression ''against family'' runs the gamut from marital infidelity to {{incest|IsRelative}} and is particularly insidious, given how important family is in the genre. On the other hand, Gothic fiction often presents the institute of [[https://en.wikipedia.org/wiki/Primogeniture primogeniture]] as transgressive against family[[note]]echoing ''Paradise Lost'', where it belies both Satan and Eve's respective fall[[/note]], resulting in a number of second sons, first-born daughters, and [[BastardBastard bastards]] cast as sympathetic victim-villains.
to:
** Transgression ''against family'' runs the gamut from [[InfidelityIndex marital infidelity infidelity]] to {{incest|IsRelative}} and is particularly insidious, given how important family is in the genre. On the other hand, Gothic fiction often presents the institute of [[https://en.wikipedia.org/wiki/Primogeniture primogeniture]] as transgressive against family[[note]]echoing ''Paradise Lost'', where it belies both Satan and Eve's respective fall[[/note]], resulting in a number of second sons, first-born daughters, and [[BastardBastard bastards]] cast as sympathetic victim-villains.
