Work for Friday 24th June

I'm spending the day at St. Ninian's so here's what I'd like you to do.

Read Edgar Allan Poe's 'The Raven' - see post below and answer the following questions to develop your understanding of the Uncanny in Gothicism.

Have fun!

QUESTIONS ON 'THE RAVEN'

1.Throughout the poem, many words are repeated (ex: chamber, sorrow, Nevermore, Lenore). Why does Poe do this? What type of effect does it have on the reader?

2.Is there any indication that the narrator may have dreamt the entire episode? Explain.

3.What type of mood does Poe create in ‘The Raven’? Give examples to support your answer, linking it with the concept of the uncanny.

The Sublime and things to print before Tuesday

Notes first to support the things we did today.

Key quote from the main man:

Edmund Burke

            The eighteenth-century writer Edmund Burke wrote in 1757, “Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.”

Hugh Blair (1796) wrote that...

...the sublime, “produces a sort of internal evaluation and expansion of the mind above its ordinary state, and fills it with a degree of wonder and astonishment which it cannot well express.” 

In relation to Wordsworth’s - The Prelude:

“The real power of Wordsworth’s moments is not their frozenness or their solidity, but the immense energy within them, their power to make the reader’s imagination work backward and forward in an instant” (145). This encounter with a mountain becomes a fluid moment reminding him of the power of nature and the role of nature as a teacher. 

Now the part to print before tomorrow (not at the start of class)...

The Raven

[First published in 1845]

Once upon a midnight dreary, while I pondered weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. `'Tis some visitor,' I muttered, `tapping at my chamber door - Only this, and nothing more.' Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; - vainly I had sought to borrow From my books surcease of sorrow - sorrow for the lost Lenore - For the rare and radiant maiden whom the angels named Lenore - Nameless here for evermore. And the silken sad uncertain rustling of each purple curtain Thrilled me - filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating `'Tis some visitor entreating entrance at my chamber door - Some late visitor entreating entrance at my chamber door; - This it is, and nothing more,' Presently my soul grew stronger; hesitating then no longer, `Sir,' said I, `or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you' - here I opened wide the door; - Darkness there, and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the darkness gave no token, And the only word there spoken was the whispered word, `Lenore!' This I whispered, and an echo murmured back the word, `Lenore!' Merely this and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. `Surely,' said I, `surely that is something at my window lattice; Let me see then, what thereat is, and this mystery explore - Let my heart be still a moment and this mystery explore; - 'Tis the wind and nothing more!' Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore. Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door - Perched upon a bust of Pallas just above my chamber door - Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, `Though thy crest be shorn and shaven, thou,' I said, `art sure no craven. Ghastly grim and ancient raven wandering from the nightly shore - Tell me what thy lordly name is on the Night's Plutonian shore!' Quoth the raven, `Nevermore.' Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning - little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door - Bird or beast above the sculptured bust above his chamber door, With such name as `Nevermore.' But the raven, sitting lonely on the placid bust, spoke only, That one word, as if his soul in that one word he did outpour. Nothing further then he uttered - not a feather then he fluttered - Till I scarcely more than muttered `Other friends have flown before - On the morrow he will leave me, as my hopes have flown before.' Then the bird said, `Nevermore.' Startled at the stillness broken by reply so aptly spoken, `Doubtless,' said I, `what it utters is its only stock and store, Caught from some unhappy master whom unmerciful disaster Followed fast and followed faster till his songs one burden bore - Till the dirges of his hope that melancholy burden bore Of "Never-nevermore."' But the raven still beguiling all my sad soul into smiling, Straight I wheeled a cushioned seat in front of bird and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore - What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking `Nevermore.' This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom's core; This and more I sat divining, with my head at ease reclining On the cushion's velvet lining that the lamp-light gloated o'er, But whose velvet violet lining with the lamp-light gloating o'er, She shall press, ah, nevermore! Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. `Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee Respite - respite and nepenthe from thy memories of Lenore! Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!' Quoth the raven, `Nevermore.' `Prophet!' said I, `thing of evil! - prophet still, if bird or devil! - Whether tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted - On this home by horror haunted - tell me truly, I implore - Is there - is there balm in Gilead? - tell me - tell me, I implore!' Quoth the raven, `Nevermore.' `Prophet!' said I, `thing of evil! - prophet still, if bird or devil! By that Heaven that bends above us - by that God we both adore - Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels named Lenore - Clasp a rare and radiant maiden, whom the angels named Lenore?' Quoth the raven, `Nevermore.' `Be that word our sign of parting, bird or fiend!' I shrieked upstarting - `Get thee back into the tempest and the Night's Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! - quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!' Quoth the raven, `Nevermore.' And the raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted - nevermore!

Password sorted, so notes on the Gothic for my favourite Year 12s

The Gothic

Professor David Punter takes you beyond the stereotypes of modern Goth style, with a survey of the origins of the Gothic and its key features.

What is the Gothic? 
 You might initially think of ‘Goth culture’ – black robes, black lips, vampire fixations, a certain type of music. Or perhaps Gothic films, which have a long history from Hammer horror through to far more recent remakes of Gothic texts like Dracula and Frankenstein. But the Gothic, in fact, has an even longer history and a broader cultural spread. Asking the questions when, where, what and why might help pin down this fascinating and long-lived cultural phenonmenon.

When is the Gothic?
In some ways, this is the most confusing question of all. We might want to trace the Gothic back to the original Goths, whose history is now mostly lost but who have been credited with a part in the last days of the Roman Empire and the sack of Rome. But the Goths left almost no written records, and were mostly unheard of until the ‘first Gothic revival’ in the late eighteenth century. In Britain this revival involved a series of attempts to ‘return to roots’, in contrast to the classical model revered in the earlier eighteenth century.
The notion of the Gothic as a reaction against the classical tradition had a considerable impact during the romantic period, and affected almost all the major romantic writers in different ways. William Blake was an upholder of the Gothic as against the classical. Coleridge’s ballad ‘The Rime of the Ancient Mariner’ is distinctly Gothic in its use of supernatural machinery. 

It is against this background that we see the emergence of the Gothic novel, as part of a second ‘Gothic revival’, in the nineteenth century. This time it was an architectural revival which looked back to the great English medieval cathedrals for inspiration, rather than to the Greek and Roman architecture which had so greatly influenced the period of the Enlightenment in the eighteenth century. (Perhaps the best-known example of the ‘neo-gothic style’ is the Houses of Parliament.) The crucial features of this style were ornateness, soaring perspectives – part of the Gothic preoccupation with the sublime – and a kind of religious intensity.

From this time on, the Gothic has continued to exert an influence. We can find it in the ghost story, which became extraordinarily popular during the Edwardian period when writers such as Arthur Conan Doyle, M.R. James and H.G. Wells (despite his scientific turn of mind) wrote a number of distinctly Gothic tales. And we can find it in the more contemporary period with the evolution of the horror story in the hands of writers like Stephen King, Ramsey Campbell and Dean Koontz. We can find it too in parodies of the Gothic, from Jane Austen’s early nineteenth-century satire Northanger Abbey, written at the height of the Gothic novel craze, to more modern pastiches and parodies.

Where is the Gothic?
So the Gothic stands for a continuing set of revivals, or ways of revivifying the past but where do we find it? The Gothicism of the late eighteenth and early nineteenth centuries was far more broadly spread than just Britain. German culture was particularly crucial, with any number of ‘Gothic plays’ produced during the period, some by rather poor writers but others by major figures such as Schiller. This German Gothic drama, interestingly, provides the roots of that staple of nineteenth-century English culture, the melodrama, with its swooning maidens, moustache-twirling villains and upright heroes. In France, the infamous Marquis de Sade wrote the first major criticism of the Gothic, attributing its growth to the dangers and terrors of the French Revolution.
The Gothic was also influential in America from the late nineteenth century onwards. Almost all of today’s writers of horror fiction look back to Edgar Allan Poe as their master; but more traditionally-minded American writers, such as Nathaniel Hawthorne and Henry James wrote Gothic too. James’s novella The Turn of the Screw, often filmed, remains one of the most startling, and indeed inexplicable, of Gothic works, with a panoply of ghosts and a narrator of the utmost unreliability – not for nothing was one well-known critical article on the book titled ‘The Squirm of the True’!

What is the Gothic?
1. Texts
Despite its variety, the central ground of the Gothic remains a series of novels written in Britain between, roughly, 1760 and 1830. The very first of these is often said to be Horace Walpole’s The Castle of Otranto, although to the modern reader Walpole’s giant helmets, speaking pictures and other supernatural paraphernalia may seem comic rather than Gothic. The works which were perceived at the time as most distinctively Gothic were those of Ann Radcliffe – chiefly The Mysteries of Udolpho and The Italian – and The Monk by Matthew Lewis. Mary Shelley’s Frankenstein, though now usually seen as Gothic, appeared a little late in the period and was arguably more concerned with the perils of scientific experimentation than with the problems of ghosts and haunting which preoccupied the Gothic.
The second wave in the late nineteenth century was, perhaps, an accompaniment to fin de siècle notions of decadence and degeneration: Bram Stoker’s Dracula, Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde, Wells’s The Island of Doctor Moreau and Oscar Wilde’s The Picture of Dorian Gray. Another less well-known but fascinating Gothic text from this period is Richard Marsh’s The Beetle.

2. Motifs
We may prefer to define the Gothic by a series of motifs. The principal one is the Gothic castle, as in Dracula’s castle and in works by Walpole, Radcliffe and many later writers, Angela Carter among them. The castle is gloomy, forbidding, a place where maidens find themselves persecuted by feudal barons, a reference to a medieval past which somehow remains as the site of our worst fears and terrors.
The persecuted – or at least pursued – maiden is another major motif, the idea of somebody defenceless exposed to tyranny and loss. As, of course, is the ghost. Ghosts have never been absent from literature – think, for example, of Shakespeare’s Hamlet – but in the Gothic we are constantly in the presence of ghosts, or at least of phenomena which might be considered ghostly, even if, as in the case of Radcliffe, they are usually explained away in the final few pages.
Then, of course, there is the vampire, who makes his first significant appearance in John Polidori’s The Vampyre but becomes a source of obsession in much nineteenth-century literature. A particularly interesting example is the lesbian vampire in Sheridan LeFanu’s Carmilla, although it is Stoker’s Dracula who has most indelibly fixed himself in the minds of English readers.
And alongside these, there are all manner of monsters – Mary Shelley’s is the most obvious – as well as zombies and the walking dead. A further, long-lived motif is the double. The Strange Case of Dr Jekyll and Mr Hyde is the most obvious example. The life-or-death experience of discovering, or being discovered by a double, runs right through Gothic literature.

3. Mood
Alternatively, one might think of Gothic more in terms of mood. From the earliest days of Gothic fiction, it has been conventional to make a distinction between ‘terror’ and ‘horror’: ‘terror’ being something more shadowy, more insubstantial, harder to pin down, ‘horror’ standing for gross physical shock. But whichever way one looks at this, the central mood of the Gothic is fear.
In the Gothic, this mood always has something to do with the past, with ‘what comes back’, with the ‘revenant’. Usually the ghost that returns in the Gothic has some connection with an evil deed the protagonist has committed in the past, although occasionally there seems little clear reason for the ‘return’ – Walter de la Mare’s short stories contain some good examples of what we might call ‘undeserved haunting’.

4. Outside the mainstream
These days – although perhaps also at the time of the ‘original Gothic’ – the Gothic is conventionally identified as a specific subgenre of literature. This is at its most obvious in bookshops, where ‘horror’ is set apart from other fiction, and systematically marked out by publishers, with black, glossy covers, and so on, as a sub-genre on a level with science fiction, fantasy and romance. Gothic, then, is perhaps partly defined, and has been for two centuries, as a form of writing not wholly within the ‘mainstream’, even though its effects can be felt in many other mainstream works such as Wuthering Heights, Jane Eyre or the novels of Dickens.

Why is the Gothic?
This is a very complicated question, with six possible answers, that might apply in a mingled way to any specific text.

1. Social
Some argue that the Gothic is a response to anxieties that the ancient feudal, aristocratic order might return to unsettle bourgeois conventions, a set of conventions which, on the surface, seemed certain of dominance during the eighteenth century but which were, perhaps, not quite as secure as they seemed. De Sade’s theory was that the Gothic was related to the French Revolution; but perhaps it might be better to say that the Gothic is related to the uncertainties of revolution in general, of how sure we can be that forces that seem utterly defeated might not live on in a different form.

2. Psychological
Freud famously identified the unconscious as that place in the mind from which nothing ever goes away: thus ghosts and hauntings are figures arising from our psychological past, figures of fear that we thought we had banished but which continue to live on inside us. There is a clear connection with the world of dreams; many commentators on dreams have said, for example, that in our dreams we are frequently objects of pursuit – thus the pursued maiden would be an instance of dreams writ large. We might also say that Gothic fiction enacts our fear of death but perhaps also the reverse, that it represents our fear of immortality, of living a life – like Coleridge’s Ancient Mariner – from which no release is possible.

3. Feminist
Then again, we might point to the preponderance of suffering women in the Gothic, and say that what the Gothic really enacts is a struggle between the genders, a struggle in which men always have the upper hand. Texts such as Jane Eyre, of course, partially reverse this idea, since Jane, in a sense, ‘wins’; but what she wins is an aged and blinded version of the man she loves. Certainly a great deal of Gothic fiction has been written by women, from Radcliffe through to Rice; and, much Gothic fiction, emblematically Dracula, seems to form itself around what psychologists might call ‘eve-of-wedding fantasies’ – those fantasies of lost freedom which women in particular have – or have had – before marriage (though ironically at the height of the Gothic, women had little freedom to lose!). There is a whole strand of criticism devoted to the ‘female Gothic’ – one of its main arguments hinges on the motif of the castle and its relation to the constrained domestic sphere which most women, in the late eighteenth and early nineteenth centuries, were forced to inhabit.

4. Scientific/technological
Gothic, perhaps, tests the limits of the human. It does so in relation to ghosts, hauntings and the undead; but it also does so, most obviously in Frankenstein, in relation to the role of the divine and the question of how human ambition might overstep the boundaries of creation – this is, of course, also a gender argument, since Frankenstein also usurps the role of women in reproduction. The Gothic, though, might be seen as tracing the limits of what is possible for the human, and thus as questioning how far scientific and technological development might enable people to extend themselves without threat of divine retaliation – The Island of Doctor Moreau is one example of this, as are some of the graphic novels of Neil Gaiman. Behind it all lies a question of the value of science as opposed to human feeling.

5. Passions
The earliest writers of the Gothic (and critics of it) made it clear that they were ‘against reason’ – they did not accept the classic Enlightenment view that humans are mainly driven by reason. On the contrary: the Gothic reminds us that we are mainly driven by our passions. This may be a good or a bad thing. It may be a good thing insofar as we might feel emotional intensity towards certain people or causes; it may be a bad thing insofar as it drives us into obsession or madness. At all events, the Gothic deals in illicit desires, in what is prohibited by society; it deals in emotional extremes, whether terror or love; it deals in the terrifying forces which, in so many modern films, may besiege the ordinary house or ordinary lives, and sees them as evidence for forces inside ourselves with which we find it difficult, if not impossible, to come to terms.

6. Popular culture
And so I return to where I began, with popular culture. Gothic was, from its inception, a ‘popular’ form. Ghost stories were regularly published in Dickens’s Christmas annuals. More recently, there is the long-running series of M.R. James’s ghost stories shown on television at Christmas. Now, of course, with the huge stands of horror fiction in the bookshops, we may say that the Gothic has come into its own again.

Conclusion
There is no one simple definition of the Gothic. Perhaps most useful of all is to think of it in terms of certain key cultural and literary oppositions: barbarity versus civilisation; the wild versus the domestic (or domesticated); the supernatural versus the apparently ‘natural’; that which lies beyond human understanding compared with that which we ordinarily encompass; the unconscious as opposed to the waking mind; passion versus reason; night versus day. And in so doing, perhaps we can make more sense of the connections between the Gothic in romantic poetry, or the nineteenth-century Gothic novel and its modern descendents, the Gothic film or Goth fashion style. Try applying these oppositions to the text you’re reading, whether it be an early novel, a short story or poem and see where they take you in understanding the essential qualities of this very rich and varied genre. 

Professor David Punter teaches at the University of Bristol.

This article first appeared in emagazine 29.

Chapter 24

Chapter 24:

1. FORM:  narrative perspective, tone, tragedy – working on various levels.

·         Dramatic present narrated to the reader by a first person retrospective narrator.

·         Tragedy of childhood represented in Sohrab as he is described as ‘Just rock[ing] back and forth, his face lit by the silver glow of the images flickering across the screen.’ P272. Then continued in the ‘unofficial’ question Amir asks himself and the reader: P275: ‘Who the hell cared about another dead Afghan kid?’ P277: ‘There are a lot of children in Afghanistan, but little childhood.’

·         Confessional narrative: Amir – P274: ‘I didn’t want his blood on my hands. Not his too.’ Hosseini continuing to tell the story by making Amir’s guilt inescapable, penetrating. P283: ‘Then I did what I hadn’t done in fifteen years of marriage: I told my wife everything. Everything.’ As Amir reveals this for him, feels like ‘something lifting off my chest,’ and the reader too relishes in this honesty; there are no secrets anymore.

·         Shades of a bildungsroman: P279 – ‘Now as the boy’s pain soaked through my shirt, I saw that a kinship had taken root between us too... “Would you like to come live in America with me and my wife?”’ Amir is presented with an extremely troubled child and rather than ignoring the problem as he did with Hassan, he draws Sohrab against his chest, lets him cry and presents a positive opportunity. Indicative of his journey towards atonement and self discovery.

2. STRUCTURE: opening/closing, any link to previous chapter/move on? Describe the series of significant events and how they are presented – linear narrative structure?

·         Opens: events pick up from the previous chapter with the arrival in Islamabad. The structure of the opening is controlled after the ‘hodgepodge’ memories that concluded Chapter 23. Initially the opening hints at the possibility of hope for young Sohrab as he ‘perked up at the sight of the mosque.’

·         Pace of the chapter accelerates as Amir desperately looks for Sohrab and then decelerates as he discovers him in the mosque.

·         P283 – Soraya’s phone call allows the telling of the story to develop.

·         Structure injected with obstacles as Amir and Sohrab visit the American Embassy in Islamabad.

·         P289: Adumbration of Sohrab’s attempted suicide in Andrew’s daughter’s death.

·         Horrifying ending, reaffirming the tragedy of childhood of the novel’s form.

3. LANGUAGE:  Descriptive detail, use of dialogue.

·         Dialogue between Amir and Farid – bold ending to their friendship: P272: ‘I never saw him again.’ Sense of finality.

·         Language of introspection and uncertainty: P272 – repetition of ‘I wondered’ in quick succession reinforcing the ultimate uncertainty of Amir and Sohrab’s position.

·         Variety of sentence lengths used to convey the anxiety and panic when Amir discovers Sohrab has left. P273. ‘I called him name.’ ‘He was gone,’ is isolated and placed at the end of a paragraph to ensure its impact reverberates with the reader.

·         Heated dialogue at moment of crisis: P274: ‘Mr. Fayyaz, have you seen him?...The boy who came with me. Have you seen him or not for God’s sake?’ – short sentences, losing patience conveying Amir’s desperation.

·         Irony of Mr Fayyaz words P275: ‘I will drive you because I am a father like you.’ Despite not being a biological father, this is the position Amir now finds he must adopt towards Sohrab.

·         Language of reflection: P277 – ‘I’m starting to forget their faces,’ Sohrab said. ‘Is that bad?’ Real fears of the child. P277: ‘Will God put me in hell for what I did to that man?’

·         Amir’s narrative voice adopts a sensitive, child-like tone to sooth the fears of Sohrab: P278 – ‘So one day the bad man hurt your father instead. He hurt him in a very bad way, and I...I couldn’t save your father the way he had saved me.’ Language appropriate for Sohrab but also is indicative of how despite being an adult, the painful memories of his childhood still affect him, even how he speaks...not the eloquent writer here, struggling to get the words out.

·         P288: empty descriptions of Raymond Andrews – a man who holds the key to Sohrab’s future in America but is described as having ‘glassy eyes’ which ‘didn’t so much as blink.’

·         P298: Pathetic fallacy to conclude chapter, then swiftly followed with the language of contrasts. Amir’s joy over Soraya’s info is closely juxtaposed to his horror when he discovers Sohrab has tried to commit suicide:

‘Suddenly I was on my knees, screaming. Screaming through my clenched teeth. Sreaming until I thought my heart would rip and my chest explode.’