OCR A-Level English Literature - The Gothic Unseen

AO1 (Question 3 - 12.5%)

Excellent and consistently detailed understanding of texts and question; well-structured, coherent and detailed argument consistently developed; consistently fluent and accurate writing in appropriate register; critical concepts and terminology used accurately and consistently.

AO2 (Question 3 - 75%)

Well-developed and consistently detailed discussion of effects of language, form and structure. Excellent and consistently effective use of analytical methods. Consistently effective use of quotations and references to text, critically addressed, blended into discussion.

AO3 (Question 3 - 12.5%)

Consistently developed and consistently detailed understanding of the significance and influence of the contexts in which literary texts are written, as appropriate to the question. Consistently developed and consistently detailed understanding of the significance and influence of the contexts in which literary texts are received, as appropriate to the question.

Pre-Gothic (1720s - 1760s)

Whilst it is arguable that the Gothic begins with Shakespeare or Chaucer, the critical period leading towards the first Gothic novel begins with the influence of the Graveyard poets. Texts from this time often include the sublime, medievalism, expansion of empire and national identity, and ghosts.

Pre-Gothic Texts

Thomas Parnell - A Night-Piece on Death (1721) : Funeral imagery, futility of life, and transcendence into Heaven.

Thomas Leland - Longsword (1762) : Damsels in distress, dungeon settings, and evil monks.

First Wave Gothic (1760s - 1780s)

Gothic literature from this wave often focused on foreign medieval settings, external monsters, and the supernatural. Characters often fell into simple stereotypes, creating tropes such as the damsel in distress.

First Wave Gothic Texts

Horace Walpole - The Castle of Otranto (1764) : A haunted Italian Castle, Conrad being killed by a gigantic helmet, and Isabella as a damsel in distress.

Ann Radcliffe - The Mysteries of Udulpho (1794) : A haunted Italian Castle, the ghost of suicided Lady of Udulpho, and Emily as a damsel in distress.

Matthew Gregory Lewis - The Monk (1795) : Religious hypocrisy, incestuous rape, murder of family members, and a failed Faustian tale.

Parodic Gothic (1800s - 1820s)

Despite its huge popularity in the late 18th Century, the Gothic became increasingly subject to parody and pastiche. This might have been due to the repetitive nature of the Gothic, as many texts used the exact same tropes (such as the ever-present medieval Italian castle).

Parodic Gothic Texts

Thomas Love Peacock - Nightmare Abbey : Protagonist Scythrop is literally called ‘melancholy’ in Greek and there is a traditional medieval setting

Jane Austen - Northanger Abbey : Protagonist Catherine misinterprets her world as a result of all the Gothic novels she reads.

Second Wave Gothic (1820s - 1870s)

Gothic texts in this wave often shifted towards the internalisation of monsters, focusing on the psychology behind fear. Characters became more realistic, and were set in more relatable worlds, such as contemporaneous London rather than a medieval foreign land.

Second Wave Gothic Texts

Mary Shelley - Frankenstein (1818) : Science versus religion, the ‘outsider’, and appearance versus reality.

Charles Dickens - Oliver Twist (1838) : Pathetic fallacy, isolation, emotional distress, and a contemporaneous London setting.

Fin de siècle Gothic (1870s - 1900s)

Gothic texts from this wave often explored hypnotism and mesmerism as the Gothic shifted towards internal monsters over externals. However, ghost stories were also increasingly popular at this time. Similarly, occultism and spiritualism also became popular, with ideas of ‘spirits’ breaking into the natural world.

Fin de siècle Gothic Texts

Robert Louis Stevenson - The Strange Case of Dr Jekyll and Mr Hyde (1886) : Science versus religion, appearance versus reality, and indulgence.

Charlotte Perkins Gilman - The Yellow Wallpaper (1892) : Hysteria, crippling expectations, and insanity.

American Gothic (1700s-2000s)

This wave of Gothic literature tends to shift away from the outward appearance of haunted buildings or the supernatural, instead focusing on the inward terrors of the mind. These writers deploy elements of the Gothic to illustrate socio-political concerns about the world around them, and as such, these novels often exist in the daily lives of the readers.

American Gothic Texts

Nathaniel Hawthorne - Young Goodman Brown (1835) : Loss of faith, loss of trust, immorality.

Edgar Allan Poe - The Fall of the House of Usher (1839) : Medieval haunted house, insane male characters, beautiful and dying female characters, unnamed narrator.

Modern Gothic (1900s - 2020s)

Gothic texts from this wave often use contemporaneous events to emphasise gothic tropes, such as Watergate, 9/11, and Covid. As a result, there is often a sense of the ending of innocence and an overwhelming self-consciousness.

Modern Gothic Texts

Daphne du Maurier - Rebecca (1938) : Young and innocent Mrs de Winter, older and imposing Maxim, and madness.

Stephen King - Carrie (1974) : Telekinesis, domineering religion, and bullying.

Toni Morrison - Beloved (1987) : Trauma and grief, haunted house, ghost of a murdered daughter.

Anagnorisis

A critical discovery made by a character that allows them to fully understand their situation or antagonist.

Catharsis

The release of emotions that can help with insight and change. This can be experienced by a character or the reader.

Dislocation

The use of an unreliable narrator in order to create unease or confusion. Used in The Tell-Tale Heart, where the narrator insists he is not mad.

Recidivism

A relapse into criminal or immoral behaviour even after experiencing negative consequences. Used in The Strange Case of Dr Jekyll and Mr Hyde, where Dr Jekyll continues to transform into Mr Hyde despite the troubles it causes.

Revenant

A visible ghost or reanimated corpse. Seen in Frankenstein, where the monster is constructed of corpses and is reanimated.

Archetypal Protagonist

A character who serves to defeat the antagonist, and displays characteristics such as courage, perseverance, and sacrifice. They may also embark on a quest or a journey to achieve this. Seen in The Castle of Otranto, where Theodore challenges the tyrant Manfred.

Byronic Hero

A character who is characterised as a moody and brooding rebel, often haunted by a past secret. They have a lot of emotional depth and complexity, but also exhibit traits such as pride, cynicism, and defiance, meaning they can often be mistaken for the antagonist. The first Byronic hero appeared in Lord Byron’s semi-autobiographical poem Childe Harold’s Pilgrimage in 1812.

Damsel in Distress

A female character who is characteristically frail, passive, and wide-eyed. They are often the victim of a predatory male. Seen in The Monk, Antonia is the victim of predatory Ambrosio.

Femme Fatale

A subversion of female expectations, they are usually characterised as seductive and sexual, and is likely to take on an unsettlingly predatory role. Used in The Lady of the House of Love, where the lady is the tyrant of the village, seducing and murdering people who come close.

The Outsider

This character is likely to also be the antagonist - foreign, not Christian, and perhaps not even human. When they aren’t the antagonist, they are able to provide more sensible suggestions in the face of uncertainty. Used in Dracula and The Fall of the House of Usher.

Catholicism and Catholic Settings

A motif throughout Gothic literature that signifies foreign and uncivilised areas, as well as hinting at corruption. Used to contrast Protestant England, this setting often includes locals who are superstitious and somewhat threatening. Used in The Monk and Dracula.

Wasteland Settings

Used to represent a lack of social laws, exposure and a lack of action, as well as presenting death winning over life. Used in The Fall of The House of Usher to emphasise the isolation of the characters.

London and Urban Settings

This setting is used as a symbol of moral degradation, corruption, and hypocrisy - and is often used to emphasise the trope of appearance versus reality. Used in The Picture of Dorian Gray and The Strange Case of Dr Jekyll and Mr Hyde to highlight the protagonist’s descent into immorality.

Sublime Landscape Settings

Often used to symbolise higher powers and powerlessness, as well as human insignificance and terror. Used in The Mysteries of Udolpho, as Emily is taken to the castle.

Old Structure Settings

Settings like castles and abbeys provide the threat of unknown pasts, death, and deterioration. The architecture suggests the opportunity for secrets, imprisonment, and corruption. Used in Dracula, The Castle of Otranto, and The Fall of the House of Usher.