English Literature crossing boundaries in the Gothic Essay Example

English Literature crossing boundaries in the Gothic Essay Much Gothic writing is preoccupied with the punishment of transgression. By comparing Frankenstein with at least one other Gothic work you have studied, discuss ways in which writers of the Gothic tradition explore the consequences of crossing boundaries From the outset, it is very pertinent to note the use of the word consequences in this question. Indeed, crossing boundaries can be perfectly benign and harmless. Also worth considering is the fact that crossing boundaries can either be treated in a geographical (and literal) sense simply a person or object moving from one designated area to another (e. . Waltons expedition to the Arctic) or, instead, as a personal crossing of a figurative boundary (e. g. the Creatures negative change in attitude towards the world). Let us first look at this point of emotional shifts. With regards to consequence Mary Shelleys Frankenstein (1831) offers a strong insight of the Creatures descent into malignity (this word is interestingly repeated throughout the text). The Creature crosses this theoretical introspective boundary essentially as a result of social exclusion. Yet, it is not simply emotional punishment for the Creature per se. We will write a custom essay sample on English Literature crossing boundaries in the Gothic specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on English Literature crossing boundaries in the Gothic specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on English Literature crossing boundaries in the Gothic specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Victor also feels the effects of the Creatures decline having provided the impetus behind his animosity and malignant mindset. Victor feels equally culpable for the deaths of those who are close to him Elizabeth, William, Justine, Henry etc. He symbolically aborts his Creature by effectively casting him aside. Victor giving life, of course, can obviously be linked to the idea that Victor succeeds in usurping the role of the mother (one might treat this as transgression to go beyond or overstep the limit1 of gender role). Furthermore, what this reciprocated punishment also offers us is support for the notion that the two characters are in fact the same person (it has frequently been suggested that the Creature maintains the role of a double or doppelgi nger to Victor). Bram Stokers Dracula (1897) as well offers fertile ground for this essay. The men of the novel do also cross a metaphorical emotional boundary in the final chapters of the text. It is a poignantly-governed change, essentially being brought upon them as a consequence of the horrific transformation (indeed transgression) of Lucy Westenra into an un-Dead. Of course, this is combined with an apparent requirement to put an end to Count Draculas malice regardless. This, then, leads us onto the notion of crossing literal geographical boundaries. The men are required to travel from West to East. This issue is touched on elsewhere in the Gothic the East effectively treated as barbarous, evil, uncivilised etc. in distinct contrast with its antithesis: the good, industrialised, sophisticated West. They venture to Transylvania in an exploit to finish off the Count once and for all. It is in fact successful (bar the death of Quincy Morris). These two examples do certainly outline how the two types of crossing literal/geographical and metaphorical/emotional are comparable. We may, however, look at one other issue; namely whether or not there is a distinction between heroic (and indeed prudent) crossings, and weak (imprudent) crossings. Victor Frankenstein is, on the whole, a weak character (who in turn makes a series of misjudgements). This form of characterisation may indeed be a device utilised by Shelley to rationalise the negative outcome of the novel. In contrast, the men of Dracula are gallant, heroic, level-headed etc. ho, compliant to this rule, ultimately generate a positive outcome. Turning back to Frankenstein, we might look at one of these cases of imprudence; namely both Victors and Waltons strive for knowledge (one mans life or death were but a small price to pay for the acquirement of knowledge which I sought). Samuel Taylor Coleridges Rime of the Ancient Mariner (1798) also concerns an ominous expedition, in a similar manner to Walton. They attempt to reach new heights; to essentially break the rules (the boundaries of mans extents) to transgress. This does, in fact, strike synonymy with the subject in the novels title (The Modern Prometheus). The Greek Titan, Prometheus, transgressed beyond an acceptable boundary steeling the secret of fire from the Gods. Interestingly enough, Prometheus punishment consisted of having a great eagle eat his liver every day whilst it continually replaced itself. The strife for knowledge and the Prometheus allegory can be linked with Victors crossing of a geographical boundary. Shelley presents him as moving away from the archetypal family life to proceed with his endeavours in the university town of Ingolstadt. This is, of course, where the Creature is created. One might say that the Creature and the consequences that arise from his creation are nothing more than a result of Victors crossing of the social boundary into the adventurous and hectic life of the Ingolstadt academic. Shelleys message, it would seem, is that were one to cross boundaries feebly without prudence or reason; or to transgress to punch above ones weight we would be indeed be punished as a consequence. Stokers Dracula, in turn, shows us how a prudent or gallant crossing can elicit a positive outcome. The nature of character entails the nature of consequence. Moving on, William Beckfords Vathek (1786) contains an interesting sequence in which the Princess Nouronihar ventures into an unknown region attracted by a glowing ball of light. Instead of punishment, however, Beckford offers us the juxtaposition of fear, uncertainty and uneasiness with a sense of grandeur and affluence. It is, nevertheless, a rather mysterious scene. Unbeknownst to what was about to come, the Princess overhears: For what monarch are these torched kindled, this bath prepared, and these habilments second voice answered, They are for the charming daughter of the emir Fakreddin Now, it is debatable whether or not we can consider this to be punishment. It is certainly weird and uncanny and would most definitely elicit a sense of uneasiness in Beckfords character. It is a very eccentric and bizarre outcome of a crossing; the reference to the Princess makes us contemplate that the most pertinent issue is not in fact her crossing of the literal geographic boundary, but instead a boundary from the knowing to unknowing. It is as though the Princess has forgotten aspects of her life like she has moved from a state of full consciousness to amnesia. Regardless of such interpretations, these strange storylines do certainly succeed in providing the Gothic with its enticing quality. To summarise, then, the range of consequences as a result of crossing boundaries, as well as interpretations of the intrinsic meaning of this, are far reaching. There are metaphorical, emotional crossings of boundaries, which may, or may not, be compatible with literal, geographical crossings. In addition, it would appear to be the case that the consequences positive or negative of such endeavours are seemingly contingent on the nature of said crossing whether it is heroic or feeble, prudent or imprudent. The scene from Vathek simply succeeds in demonstrating the ambiguity of the Gothic. The mysterious and strange manifestations of it demonstrate fully how the genre can both confuse and fascinate the reader.