论爱伦坡小说中的哥特式风格
“哥特式”在爱伦坡《厄舍府的倒塌》中的体现
Xiaoqing CaoProfessor Raymond DiPalma19 CENT AM LIT (HLD-2088-R)22 November 2016The Presence of the “Gothic” in Poe’s “The Fall of the House of Usher”The Gothic narrative and poem originated from European religious theology, it’s the literary genre began in the eighteenth century.1Writers from different genres have used Gothic techniques,and for hundreds of years,it have attracted many readers because of its suspenseful plotand horrifying atmosphere.The Fall of the House of Usher was written by Edgar Allan Poe in 1839 and was considered an early example of Gothic literature. In this essay, I will talk about the most striking points that“Gothic” presents through the plot, the depiction of desolation and bizarre atmosphere of horror. This entire work gives a sense of darkness, either in its setting, or the language of depiction and writing art.In the matter of settings, first of all, Poe sets the story in “a soundless day” in the bleak autumn, the season that all things wither. Including inanimate dusk and low black skies, the beginning of the story already starts to make readers feel an inexplicably ominous premonition and create of melancholy.1 Gothic fiction, Wikipedia https:///wiki/Gothic_fictionSecondly, the scenes in The Fall of the House of Usher can be divided into external and internal parts. The locale of the story is an ancient house in a desolate field. External refers to the environment: “I looked upon the scene before me —upon the mere house, and the simple landscape features of the domain —upon the bleak walls —upon the vacant eye-like windows —upon a few rank sedges —and upon a few white trunks of decayed trees…” This plain environmental description obviously reflects the author’s own sensitivity, so that even as a reader, I have been infected with the dreariness.“The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within.” These words describe a gloomy and dim atmosphereinside the house as well, and I associate the images with the horrible and strange things that might happen there.The third crucial point in the settings is the same mental confusion, which is varying degrees of insanity that three characters in the story all have: Roderick, narrator’s friend, seems to be aware of his mental abnormality and tries to regain consciousness, which can be seen in “The writer spoke of acute bodily illness …—and of an earnest desire to see me, …by the cheerfulness of my society, some alleviation of his malady.”Madeline, his sister, has accepted her mental problems and continues to lives on, “Hitherto she had steadily borne up against the pressure of her malady, and had not betaken herself finally to bed.” The narrator finally becomes a participant in the mental breakdown of theUsher family. “… in which wonder and extreme terror were predominant, I still retained sufficient presence of mind to avoid exciting…” Although he has been suppressing his fears, in the end, he flees the house in a panic. To considerRoderick’s goal is to reassure himself, on the contrary, he pushes himself to death, the plot is assuredly dark and zigzag.In terms of the art language, as I mentioned above, just the opening of the story is sufficient to cause a sense of horror. An opening is importantbecause it directly affects the readers’ experience and knowledge, through the alternate use of environmental description and psychological descriptionin Poe’s writing.Poe repeatedly mentions the fear, panic and superstition in the mind of the narrator. The narrator doesn’t like the ancient house, he comes because “a letter from him —which, in its widely importunate nature, had admitted of no other than a personal reply.” I think Poe demonstrates greatskill in using the reiterative sentences. He also combines Gothic theory with reason and craziness, uncanny atmosphere and reality. Regarding to the narratorwho keeps repeating and distinguishing whether it is a dream or not while he is on the way to Usher’s house.In general, the language of Gothic style writing is obscure and repressive. More straightforwardly, it is full of excessive description of the innate fear of human beings. House of Usher is also filled with a stifling sense of horror. It’s undeniable that Edgar Allan Poe is the master of Gothicliterature, he uses the pessimistic romantic style of literary expression to ponder and explore the eternal theme of spirit.。
不稳定人物、非家的家、活着的死亡—爱伦坡哥特式短篇小说中的“暗恐”
不稳定人物、非家的家、活着的死亡—爱伦坡哥特式短篇小说中的“暗恐”埃德加·爱伦·坡(Edgar Allan Poe,1809-1849)是十九世纪美国著名的诗人,文学评论家和短篇小说家。
他的短篇小说充斥着古堡、死亡、谋杀、超自然力量等传统的哥特式元素并给小说人物和读者带来恐惧,但这种恐惧不再是外部的而是心灵内部的。
本文通过弗洛伊德的暗恐理论,对三个二元对立现象:不稳定人物、非家的家、活着的死亡进行了深入分析,以期为坡哥特式小说的心理解读提供一个新的视角。
本文可以分为三个部分:第一部分为论文的导入部分,该部分对爱伦坡、其三部哥特式小说、这些作品国内外研究现状及弗洛伊德的暗恐理论进行了简要介绍。
第二部分为论文的讨论部分。
第一章从人物呈现的不稳定性入手,该论文发现主人公都经历着暗恐,其暗恐感受来源于“复影”和由于无力感唤起的“阉割情结”。
正是由于这些暗恐经历,导致了主人公的不稳定性。
第二章探究家的非家性。
这篇论文指出家成为了主人公的暗恐之地并阐释了爱伦坡笔下的家不再是建筑本身,而是人物心理的“复影”。
第三章分析活着的死亡。
论文指出主人公都谋杀了他人。
实质上,他人作为主人公的复影是主人公压抑的本我或超我。
由于本我和超我之间的矛盾,主人公把其中一者压入无意识。
而被压入无意识的部分可以进入意识,所以被压抑物可以再次出现并给主人公带来暗恐感受。
在这三篇短篇小说中,这体现为被谋杀者死后对谋杀者的影响。
第三部分为结论部分。
暗恐来源于压抑,而压抑物的复现又会导致主人公的再一次暗恐。
通过研究文本中呈现的三个二元对立,该论文解读了坡的心理书写,揭示了坡笔下主人公的心理病态是来自于自我压抑。
爱伦坡对哥特式小说的继承与发展
断写作 ， 甚 至出现以 自己名字命名 的非 自己作品的书。 爱伦坡的小说主要以恐怖 推理小说为主 ，也有一些奇幻
类 体裁 。这些小说无 论是语言上还是思想上 ，都带有爱伦坡 式 的浪漫主义特色 ，充满 了对人 的潜意识里 的恐惧 、绝望 的 挖掘 ，这样 的挖掘从另一个层面上呈现 出一种浪漫气息 。爱
独 自漂泊参军入伍 ，成为一名军人 ，在参军期间 ，他 发表了 自己第一本书 《 帖木儿及其它诗 》，没有引起多大的反响 。 后来经过不懈地努力他被提拔成为级别较高的军官 ，最后成
功进入 西点军校 ，之后他故意违反规定被开除以后 ，一直不 断写作 ，不断发表作 品，后面 的人生为窘迫 的生存境况而不
鼻 祖。从 爱伦坡 的 小说创作 中能够看到一 种对早期英 式哥特 小说创作 的继承和发扬 。本 文探 讨爱伦坡对哥特 式 小说 的继承
和发展 。
关键词 ：爱伦坡 ；哥特式小说 ；继承
爱伦坡是是 １Leabharlann ９ 世纪美 国知名推理小说作家 ，他的神秘故
事和恐 怖小说 ，形式精美 、语言优美 ，曾一度被认为是推理 小说的开 山鼻祖 。爱伦坡 的恐怖小说带有明显的浪漫主义特 色 ，他的作品揭露人 的潜意识里的 阴暗面 。因而 ，带有一定 的哥特式小说的风格 ，充满了恐怖 、魔术 、奇幻特征 ，更深 层次地表现出人 内心 的孤独 、恐惧 、烦恼及绝望等。
伦坡小说有不 同的主题 ，比较常见 的有死亡主题 的小说 、幽 默小说 、推理小说 、奇幻风格 以及哥特风格 。形式多样的创 作风格 ，优美 的语言 ，使爱伦坡成为美 国较有代表性 的浪漫
主义作家 。
理等主题中，都能够见到其对哥特式小说的继承与发扬 。爱伦 坡哥特式小说充满 了现实意义 ，反映 了人们潜意识里对于恐 哥特式风格 ，哥特式风格 ，最早是文艺复兴 时期被用来 区分 怖、孤独、绝望的审美快感的享受 ，因而被后世所追捧 。 中世纪 时期 的艺术风格 ，以恐怖 、超 自然 、死亡 、颓废 、巫
《“红死”的假面舞会》的哥特式恐怖赏析-最新文档
《“红死”的假面舞会》的哥特式恐怖赏析-最新文档《“红死”的假面舞会》的哥特式恐怖赏析一、引言哥特体小说在文坛上时间很短，杰出的作品也并不繁多。
哥特体小说的突出特点便在于它的四大要素，即悬念、神秘、魔幻和恐怖。
哥特体小说常见的主题多为乱伦、死亡、隔绝等。
爱伦坡擅长写“哥特式”风格的作品，人物怪异、颓废、病态、惊悚，故事情节令读者感到颤抖、崩溃。
《“红死”的假面舞会》就是一部典型的哥特式作品，在作品中爱伦坡继承和发展了“哥特式”的手法。
本文将从哥特式人物、神秘恐怖氛围的营造、哥特式题材来赏析这部作品的恐怖美。
二、故事简介故事采用第三人称叙述，描述了一场假面舞会。
有一种叫做“红死”的瘟疫非常猖獗，为了躲避“红死”病，普洛斯彼罗亲王召集了一千名身体健康的骑士，住到一座城堡里去，并在进去之后，把所有门闩都焊上了。
任何人都无法进来或出去。
一次假面舞会上，在午夜钟声敲响之际，“红死”突然神秘出现，在场所有的人无一幸存，统统摆脱不了死亡的命运。
故事虽然短小，但是渲染出浓浓的恐怖情绪。
三、哥特式恐怖分析（一）哥特式人物既然哥特小说又是鬼怪小说，那么哥特小说中所要主力表现的重要内容自然少不了鬼怪形象。
不过，哥特小说一般不以鬼怪形象作为作品的主要形象，它们的主要作用是为哥特小说中的人物活动营造出神秘的气氛、怪异的环境，引发恐怖的感觉。
另外，小说中还会通过幻想让小说中的人物使用魔术与魔鬼幽灵产生联系，并借它们的帮助来达到贪婪、野心和肉欲的目的。
[1]P516假面舞会实际上是在西方万圣节时人们经常举办的活动，参加舞会的人们装扮成各种妖魔，赶走游荡在四周的妖魔鬼怪，所以，整个假面舞会的狂欢者都是稀奇古怪的造型。
在作品《“红死”的假面舞会》中，舞会对装扮形象是没有限制的，可是有个陌生人却在假面舞会上装扮成“红死”。
“他的服装在血中浸泡过，他宽宽的前额以及整个五官都撒满了红色恐怖。
”[2]P143此人的装扮显然是“红死”病的征兆。
浅析爱伦坡的哥特式小说风格——《厄舍古屋的倒塌》中的哥特因素
２ 环 境 描 写 ． ２
作者 一开头就用 了一个很 长的句子 ． 直截 描写了“ 阴郁 的厄舍古 屋” 在描 写古屋 的外 围环境 时 ， ． 作者用 了一 些词 ， 无法 忍受 的幽 如“ 暗” “ 、荒凉或可怕” “ 、 凄冷 的墙壁” “ 、凋落的树 干” “ 、心灵 的沮丧 ” “ 、 冰 冷” ｍ 、 淡 ” “ 寂沉沉 的黑色池塘” 、 死 等精选 的字眼。接下 来看一 下其 内部环境 ， 昏暗的迷宫式的长廊” “ “ 、 暗淡 的壁毯 ”“ 、乌木般 漆黑的地 板” “ 当作响 ， 、叮 变幻不定 的盾形狩猎纹章” 。主人公厄舍的房间更是 幽暗恐怖 ． 墙 上挂着黑色帘子 ， “ 家具又 旧又破 ， 书和乐器扔得到处都 所感染， 自己正置身于一个幽暗 、 、 仿佛 阴森 行将倒塌的古屋之中与 叙 是 ． 却找不到一丝生气 。 所有 的这些对环境的描写都创造 了一种恐怖 ” 述者一起经历着一个令 人毛骨悚然 的故事 对坡来说 ．哀伤 ” 忧 阴暗 的氛围 而在妹妹被 活埋 的第七个夜晚 ． “ 和“ 屋外风雨交加屋 内一片 郁” 是最能表 现美 的语调 ．死亡 和美 的紧密结合” “ 是最 富有诗 情画意 漆黑 ． 恐怖 的气 氛一 步步增加 ． 小说 的高潮在最恐怖 的时刻 出现 ：一 “ 的话题 天性敏感的坡从他独特 的视角来理解艺术之美 ． 并引领读者 阵疾风把 门吹开 ， 口站着骷髅一样 的妹妹 ． 门 浑身是血 。 一声哀鸣扑 向 感受艺术之美 ． 其艺术体验本 身就是对人性 中最黑暗 、 最神秘 、 最杏无 厄舍 ． 两人同时倒地毙命 ” 这部小说堪称爱伦坡哥特小说 中的杰作 ． 人迹的一面的探索 作者从文章开始至结尾都渲染 了一种恐怖的氛 围． 字字句句都体现 了 “ 恐怖 ”Ｉ 、阴森” 为哥特小说的发展起到 了极大的促进作 用。 Ｉ ‘ ， １ “ 特” 哥 的起源及特点 ２３ 象征手法 ＿ “ 哥特 ” 最早 指古 日耳曼人 的一 支 ． 当时被罗马人蔑称 为“ 蛮族 ” ． 厄舍古屋的象征性运用也 强化 了小说本身的哥特式色调 衰朽 的 哥特一词 当时含有“ 野蛮的” “ 开化 的”“ 、未 、粗鲁 的” 的含义 。之后 ， 哥 房 子以及 笼罩于周 围的阴抑 环境实际上是罗德里 克本人的另一种呈 特一词又被赋予 了“ 中世纪的” “ 、浪漫 的”“ 、黑暗时代” 的含义 。 哥特小 现 坡为什么会 以一种和罗德里克． 厄舍两相 比照 的方式来描绘房子 说起源于 １ ８世纪后期的英国． 它是浪漫主义文学 的一个特殊流派 ． 被 以及周围的景观？可能是为 了呈现一种如不祥 的、 邪恶 的力量 在描 评论家们称为“ 黑色浪漫主义” 。哥特小说原创性强 ． 其最 主要 的特点 写房 子覆盖 的苔藓 的时候， 际上他是为了和罗德 里克那柔软 的头发 实 即恐怖性 ， 渲染 自然或社会 的暴力 与恐怖 ， 揭示社会 、 政治 、 教会和道 相类 比 坡把房子描述为脆弱易坏的、 腐朽 的、 令人毛骨悚然 的， 不具 德上 的邪恶 ． 揭示人性中最阴暗的一 面 哥特小说 的产生及其整个发 有它曾有过 的价值 。而这种描述恰好 和罗德里克 ． 厄舍 的身体状况相 展 同英美二百多年来的社会 、 宗教 、 文化背景及文学 的发展密切相关 。 类 比． 因为他确实病 了同 时也是脆弱的 ． 衰朽的， 让人感到恐惧 。 甚至 哥特小说 创作 的一般性特征 ． 即通常以古堡 、 废墟或荒野为背景， 故事 小说结尾厄舍古屋 的倒塌也意味着强调 罗德里克 ． 厄舍 的死亡 。在故 情节恐怖刺激， 充斥着凶杀 、 暴力 、 、 复仇 强奸 、 乱伦等 内容 ， 常有鬼怪神 事中坡有意 为之 的环境叙述还有另外一个重要线索， 那就 是在破败 的 灵或其它超 自 然现象 出现。 这些作品中常常笼罩着神秘 、 阴森 、 恐怖的 古屋上发现的一道裂缝 。坡首先在故事的开 始部分提 到了这个裂缝 。 气氛， 充满悬念 ， 具有独特 的艺术震撼力。 故事的叙述者宣告： 说不一定得有一 双明察秋毫的眼睛， “ 方能看 出一 道几乎看不见的裂缝． 那裂缝从正面房顶 向下顺着墙壁弯弯曲 曲地 自 ２ 《 厄舍古屋的倒塌》 中的哥特式 因素 伸． 最后消失在屋外那湖死水 中。 坡在小说中是如此设置这条裂缝的 ” ２１ 离奇 骇 人 的故 事 情 节 ． “ 从正面房顶向下延 伸” 当最终邪恶倾覆 了古宅， 坡再一次提到 了这条 《 厄舍 古屋的倒塌》描写的是一个古老的具有族内通婚传统的家 裂缝 ： “ 就在 我凝望之 际 道裂缝急 速变宽——随之一 陈狂风卷 来， 那 族 中一对具有乱伦倾 向的孪生兄妹 “ 灭” 毁 的故事 妹妹 多年疾病缠 那轮 血红 的月亮一下进 到我眼前——我头 昏眼花地看见 那座高
爱伦坡与其哥特审美风格论文
目录中文摘要 (1)英文摘要 (3)引言 (4)1 死亡在小说中是氛围与情节 (7)2 死亡隐喻了人类的困境，是美与恐惧的极致和终结 (14)2.1死亡隐喻了人类的困境 (14)2.1.1死亡隐喻了人类困境中的不自由和孤独 (15)2.1.2死亡隐喻着人类身处在无理可循的困境中 (17)2.2死亡是美与恐惧的极致和终结 (19)参考文献 (24)英文文献 (25)英文文献翻译 (29)后记 (31)浅析爱伦坡短篇小说中死亡主题的内容和意义摘要埃德加.爱伦.坡，美国文学史上不可磨灭的天才式人物，以其隽永的文学创作和悲剧式的人生命运闻名于世，一直以来，学界对他的了解和研究，和其本人的性格一样，一直与潮流保持着若即若离的关系。
第一章第一节死亡作为情节和氛围出现在小说中在《厄舍府的倒塌》中，死亡出现在文章的中间和末尾，中间的“死亡”（假的死亡）发生在作为作者“从小就是好朋友”但“许多年未曾谋面了”的罗德里克·厄舍的妹妹玛德琳小姐身上：“有一天晚上，他忽然告诉我，玛德琳小姐去世了，他说他打算把她的尸体放进古厦的地窖中保存两个星期，再举行葬礼。
”（人们文学出版社2003年《爱伦坡短篇小说集》，P51）在这里，死亡作为故事的一个中途情节，对小说的情节起着一个承上启下的作用：在小说的起初，就为我们展示出一种颓败、阴暗的局面：“在这年秋天的一个沉淡、阴暗、寂静的白日，天上的云彩低垂。
……暮色降临时，我终于看见了那阴沉的厄舍古厦。
……我望着前面的景象——望着这幢房子和它周围的地貌，望着光秃秃的墙壁，望着眼睛般的窗户，望着那一排排蓑草，望着那几株死树的白树干，……这样一想，我便策马来到池塘陡峭的边缘，观看灰色的蓑草、丑陋的枯树干，和那眼睛般空洞洞的窗口，我心中忽然打一个冷战，情绪变得比刚才更为压抑。
”（人们文学出版社2003年《爱伦坡短篇小说集》，P51）进入厄舍府后，厄舍的坏境同样是使人隐忧的：“使自己相信古厦及其周围的地区笼罩着一种特有的气体，这种气体与天上的空气不一样，它是从朽树、灰墙和宁静的池塘中溢出来的，是一种神秘的毒气，压抑、惰滞、蒙蒙的可以看到，呈铅灰的颜色。
浅谈爱伦·坡作品中哥特式创作手法体现
浅谈爱伦·坡作品中哥特式创作手法体现龙源期刊网/doc/2905166c091c59eef8c75fbfc77da26 925c59669.html浅谈爱伦·坡作品中哥特式创作手法体现作者：李翠萍来源：《青年生活》2019年第14期摘要：埃德加·爱伦·坡（1809—1849）作为美国哥特式文学的开拓者，十分娴熟地将怪诞、恐怖和离奇元素运用在作品中，以其独特的风格和引人入胜的小说情节，在美国文坛占据一席不朽之地。
爱伦·坡并不默守陈规，而是在传统写作基础上进行创新，“用演绎心灵恐怖的创作手法提升了哥特小说的艺术地位”。
[1]本文通过对其作品《黑猫》的表现手法进一步分析探寻爱伦﹒坡小说哥特式的体现。
关键词：爱伦·坡;黑猫;哥特式《黑猫》中的意象在作者爱伦·坡的众多作品当中，动物大多都带有意象色彩。
在小说《黑猫》中，黑猫这个动物角色设计可以说是作者的独特匠心。
究其文化背景，黑猫在欧洲文化中被掺杂着神秘的色彩，大多数被看作是邪恶的女巫的宠物，认为黑猫会带来厄运和不幸。
因此，爱伦·坡利用此神秘而邪恶的意象增强作品的恐怖哥特效果，读者读前就能在脑海中形成一种恐怖的预期。
第一只黑猫名叫普路托，“普路托”是古希腊神话中地狱的统治者冥王的名字，是死亡之神，常常被后人用来指代神秘、阴森的形象[2]。
但是，第一只黑猫普路托并不是完全“邪恶”的代表。
主人公原本和性格相似的妻子一起喂养了普路托，在此处主人公与普路托的关系是和谐的。
剧情随后进行变化主要是因为主人公染上酗酒的恶习，在一次酩酊大醉后因黑猫的反抗而挖掉它的一只眼睛。
“一天早晨，我心狠手辣，用根套索勒住猫脖子，把它吊在树枝上，眼泪汪汪，心里痛悔不已，就此把猫吊死了” [3]。
从开始将普路托眼睛挖掉到最终被吊死，可以观察到主人公害怕直视黑猫的眼睛，怕被其参透黑暗的内心，究其原因是恐惧。
而第二只黑猫象征着的意味不仅是黑猫的复仇，更是一种人性深处的自我审判意识。
论埃德加_爱伦_坡小说对哥特风格的继承与创新
Chapter One IntroductionThe term “Gothic” originated in a confluence of history and architecture emerging from the middle ages in Europe, which is disgusted and scorned by the so-called rational classicists. (Li, 2006) It’s a genre of literature that combines elements of both and . Prominent features of Gothic fiction include terror (both psychological and physical), mystery, the , , and , , , , , , , , and . It is defined as the use or imitation of Gothic style. Gothic fiction can also be seen as a mode of historicist criticism itself in formal structures, mode of discourse and narrative patterns, which host a contest between different versions of history.Among the general public, Poe is known primarily for his mastery of the Gothic genre. And “it would be difficult to overestimate his contribution and influence on the development of Gothic literature”. (Punter, 1980:155) Much of Poe’s popularity has grown out of a fascination with his peculiar, tortured life. All his life he has been continually struggling against both his own demons and the apparent recalcitrance and rejection of the outside world, operating under continual financial, medical and addictive pressure. (Punter, 1980:156) From English Gothic fiction in the eighteenth century, Poe took the imagery of terror: “the blighted, obsessive countryside; the machineryof the Inquisition; in particular, the haunted castle, swaddled in its own atmosphere of morbidity and decay”. (Carlson，1987：127) Being a literary talent born, Poe has high sensitivity, “with an intuitive faculty of imagination and a subtle sixth sense impossible to define”.(Chang, 1999:152) At the age of 18, he published his first volume of poems Tamerlane and Other Poems. Poe has been trying to make a living by writing and won his fame through devoting himself as an editor for various magazines or newspapers, short tales writer, poet and literary critic. However, no wealth came to him out of all this at all--poverty remains his typical condition towards his last years. The most controversial criticism has been passed on his works as well as his person. More than a century and a half after his death, critics have not come to any settled opinion over the merits of his individual style. They were reluctant to come to terms with Poe and failed to do full justice to his genius. Absolutely it is a pity that most of Poe’s fellowmen, especially those who were in his time, failed to realize his value or appreciate his genius, while what is worse is that he has been blasphemed with the most spiteful vilification. In any cases, it is no fair judgments long after his death. Reverend Rufus Griswold, whom he had the unfortunate idea of appointing his literary executor, branded Edgar Allan Poe a neurotic person, a drunkard and drug addict “who walked the streets,in madness or melancholy, with lips moving in indistinctcurses.”(Clarke, 1998:41)American modernist writers claim that “an enthusiasm for Poe (was) the mark of decidedly primitive stage of reflection”. (Clark, 1998:209) While it is awfully strange that in European countries (and among a small portion of America), Poe has won the respect and admiration no less tough in degree than the misunderstanding or inveigh he has been opposed at home. For Baudelaire, he was a “fallen angel who remembered heaven,” a “Byron gone astray in a bad world”. (Clarke, 1998:41) Yeats sang high praise for him, regarding him as “so certainly the greatest of American poets, and always, for all lands, a great lyric poet”. (Clarke, 1998: 41) With the growing study and research in Poe’s works and his personality, the modern tendency witnesses an increasing popularity and appreciation that justify his significance and contribution. It is progressively convinced by the modern critics that Poe is one of the greatest literary figures in the ., who has fathered many things, one of which is the detective stories, and the other being psychoanalytic criticism that is quite available for the interpretation of his Gothic tales. (Chen, 2007) Many authors, either American or European, such as . Eliot, William Faulkner and Conan Doyle, all confessed owing a good deal to him. Poe’s Gothic stories are enduringly arresting and everlastingly haunting, pervading his uniquely grotesque taste and morbid idiosyncrasy. In his own words, the sole effect of terror that hisperformance in composition achieves “comes not from Germany, but from the soul”. (Carlson, 1987:127) Consequently, most of Poe’s tales devolve from Gothic tradition, and supernatural horror pervades his short stories. He explores terror from where it is originated and functioned further into the mind. His achievements win him the eternal position in the literary world of all ages, and his genius and talent are gaining an increasing appreciation and popularity.Following the brief discussion of the term “Gothicism”and the literary review on Edgar Allan Poe in the Introduction, the second chapter traces the Gothic tradition in English literature, and the traditional characteristics of Gothic literature. Chapter three discusses the inheritance of “Gothic” in Poe’s tales in two parts. It’s mainly about the influence from the British Gothic novel and American literature tradition. Chapter four treats with Poe’s innovation of the terror tale from what had been its principal intent, to use a widely current phrase of the times into what have been recognized as some of the most sophisticated creations in psychological fiction in English language. Chapter five copes with the unique and rich features represented in the three stories: The Black Cat , The Fall of the House of Usher and The Masque of the Red Death.The conclusion part brings the whole thesis to an end and points out through the five chapters discussed above that Gothicism isprofoundly improved and explored in Edgar Allan Poe’s short stories. It also articulates Poe’s uniqueness a nd significance, which renders him the growing popularity in the literary world. Edgar Allan Poe’s accomplishments share the universal appreciation and fondness for the value and success.Chapter Two The Gothic Tradition in EnglishLiteratureThe genesis of term “Gothic”As a genre, it is generally believed that the term “Gothic”is invented by the English author , with his novel . In the next sixty years, Gothic literature dominated the literary scene.Gothic literature makes readers start to behold the great emotions that writers could evoke. It has several distinguishing features. As readers consumed texts with the supernatural and the horrific, they also tended to love that sensation that the suspense brought out. Gothic literature is melancholy. It contains elements of darkness and mystery and is often overly dramatic. The Gothic creates feelings of gloom, mystery, and suspense and tends to the dramatic and the sensational, like incest, diabolism, and nameless terrors. It intended to awaken the readers’ imagination. Terror is one of the main devices employed for this effect.Gothic literature is intimately associated with the of the same era. In a way similar to the Gothic revivalists’rejection of the clarity and rationalism of the style of the Establishment, the literary Gothic embodies an appreciation of the joys of extreme emotion, the thrills of fearfulness and awe inherent in the , and a quest for atmosphere. According to many critics in terms of psychological argument, Gothic literature is the product of repressed fears represented in textual form, perhaps because of the concentration of critical activity. The Gothicremains a notorious difficult field to define.In literary sense, it is clearly possible to speak of the Gothic as a historical phenomenon, originating in the late eighteenth century.(1980) Since 1970s, the Gothic has become a highly popular field in academic study. Many books both on the Gothic in general or particular subgenres and on authors have been published.The nature and development of Gothic traditionGothic literature got its start in 1764 when Horace Walpole wrote The Castle of Otranto. Afterwards, there teemed numerous world-wide celebrated Gothic fictions, among which are The Mysteries of Udolpho by Ann Radcliffe, The Monk by Mathew G Lewis, Frankenstein by Mary Shelly, Tales of the Grotesque and Arabesque by Edgar Allan Poe and so on. The vital factor rests on the challenge against Rationalism by Romanticism.The emergence and flourish of the Gothic fiction in the eighteenth century have particular roots in the aspects of society, history and culture. Walpole’s story contains all the elements that define the genre. Throughout the years, many authors have taken their stab at writing Gothic literature, putting their own unique stamp on it. Ann Radcliffe, writing in 1794, gave the genre a sense of legitimacy when she questioned the supernatural elements, explaining them away as naturalcauses. She also introduces the brooding villain. Mary Shelley, the author of Frankenstein, is definitely influenced by Gothic elements, though her novel is considered the one of the first science fiction novels to be written. Emily Bronte’s Wuthering Heights, explored Gothic elements on the Yorkshire Moors through the brooding “Heathcliff”character. It is still a favorite today. With Bram Stroker’s “Dracula” the most famous Gothic villain ever is created. He also established Eastern Europe as a favorite locale for the genre. More recently, in the 1930’s, . Lovecraft has been connected with the genre, blending the Gothic with horror, setting a new bar for writers. (Mary, 2005)Another influential author in the Gothic tradition is Edgar Allen Poe. He is an important and innovative commissarial of the Gothic in this period, who believed that terror is not of Germany, but of the soul. Poe’s debut on the literary scene is in the 1820s and 1830s, and continuing long after his death in 1849, sense of horror enlivened Gothic productions. Since .Lovecraft puts that the most ancient and powerful feeling of the human being is the sense of terror, while if it is too realistic. He explores such classic Gothic themes of decay, death, and madness, but he added his own twist-- he looked into the terrors of the soul.Romance has also been mixed with the Gothic genre. During the 1950’s to 70’s, such authors as Victoria Holt and Dorothy Fletcherfocused on the female and her connection to a gloomy castle. Another sub-genre is known as Southern Gothic. This sub-genre takes traditional Gothic elements and plants them in the Southern United States to have a novel known as “Gothic”. First, the setting takes place in a castle, the story is set in America, an old family estate. That’s what makes Southern Gothic so appealing, because an old plantation can be used. The estate, be it a castle, mansion, or plantation, can sometimes be abandoned, sometimes occupied, or it can be near caves to augment a mystery and may often contain secret passages, trap doors, and mysterious rooms. Next, the novel has to carry an atmosphere of mystery and suspense.In so far, the Gothic is perceived as the source and repository of some of the unique, valuable and essential elements in English culture. A prevalent tendency to depend less on the supernaturalism of European Gothic tradition and to employ more psychological substance is evident. Granted, some Americans continued to draw upon what we might define as “straight” supernaturalism to enhance their Gothic productions.Chapter Three The Inheritance of “Gothic” inPoe’s WorkEdgar Allan Poe, as one of the figures in American Southern literature, has made important contribution to the development of the Gothic literature. At the same time, the heritage he sucks from the Gothic tradition construct the creation of so many excellent fictions. This chapter will briefly introduce Poe’s literature status. And he isinfluenced by the British Gothic novel and American literature traditions.. The influence of the British Gothic novelIn Poe’age, English Gothic writers often associate medieval buildings with what they see as a dark and terrifying period. (Cheng, 2007) They often characterize by harsh laws enforced by torture, and with mysterious, fantastic, and rituals. Literary works are no longer only found in the aristocratic family, for they begin to have middle and under--class readers. It often incorporates older or traditional plots, and it has appealed to fantastical or supernatural events, which cannot be justified or analyzed by empirical or rational methods. Instead of singing high praise for the virtues or exhibiting the smiling aspects of the society, Gothic fiction depicts psychological and social dilemmas and demonstrates the potential revolution by daring to speak the socially unspeakable, although the very act of speaking is an ambiguous gesture. (1980) The Gothic as a style of novel set its unarguable position in British literature, and also influenced literature in other countries, especially in America and Germany.Edified by the British literature, Poe likes to read British Gothic novel. So when writers create their stories they have to take the taste of the readers into consideration. Poe is not an exception for his livelihood.He makes a research and finds that people are extremely interested in the Gothic novel which is full of horror and grotesquery. Many of Poe’stories take place in the Gothic environments, such as the declining aristocratic family or graves full of dead bodies. When reading Poe’s short stories, the readers are not only impressed by the weird characters, but also greatly stroke by the hair-raisingly mysterious and somber atmosphere. Gothic scene is an important ingredient representing its dark feature for Gothic tales. The traditional Gothic settings and props of gloom are generally located in ruined castles and abbeys, murky crypts and fungous, dark passages and stairwells echoing with howls, groans and dripping charnel houses, derived from the Gothic architecture, which flourished in the twelfth to the sixteenth century. In many of Poe’s works, setting is used to paint a dark and gloomy picture in our minds. Its stereotypical characteristic involves high-pointed towers and narrow windows with indistinct panes, usually dark inside, so that the reader can make a connection between darkness and death. In his stories, the Gothic medieval religious excruciation and crazy killing in revenge are the common plots, and the characters are always pale, seriously ill or mentally depressed and hysteria. Poe’s Gothic fiction inherits the environment setting mode in traditional British Gothic novel. The stories happen in a closed and isolated space, which will not let the readers associate with their own ages. He creates anew world, in which his readers will concentrate on the plot or atmosphere of the story. Poe believes that the finest art exists in a world different from one’s own. In order to create such a world, an ambiguous time background is needed so as to bring the readers into a wonderful world that is far away from their everyday life. Poe’s story sometimes takes place in at an unknown place such as in The Fall of the House of Usher, or in some large, old, decaying city near the Rhine such as in “Ligeia”. In another word, his story seldom happens in a recognizable place. The characters in his works have not a name or sometimes just are given a name randomly. What is emphasized by Poe is the final effect of this personal creation and its emotional function. Gothic setting and situations have maintained their popularity in Poe’s works.The influence of American literature traditionIn America, the Gothic impulse also strongly throbs yet is manifested in another pronounced feature-the psychological possibilities, a strong thread began with Brown, through Poe, Hawthorne, Henry James, and still powerfully at work in Southern Gothic of the twentieth century. Another great writer of American Gothic fiction in the nineteenth century is Hawthorne. While Poe vehemently rejects didactic literature, Hawthorne is concerned withmoral problems--sin and guilt everywhere. But what Poe argues for his writing that “my terror is not of Germany, but of the soul”(Poe, 1971:8) may as well be applied to analysis of Hawthorne’s fiction since the moral problems as also the problems of human personality, and to a great extent, psychology. Besides the exploration and expression of the aberrant human psychology, another contribution of the American Gothic fiction to the Gothic literature in this century is to extend it from the dominant novel to the short story. Compared with the loose structure and often too digressive subplots of the early Gothic novel, the tightly coherent structure and strong intensity of American short story, perfected in the works of Poe and Hawthorne, and inherited successfully by Bierce and enriched by Faulkner and O’Connor, demonstrate a new power of the Gothic. (Mary, 2005) In short, the Americanization of the Gothic, the exploration of dark psychology and the flourishing of Gothic tales show that American Gothic is more than an offshoot of the English Gothic. The indigenous American Gothic presents destructive forces that do not exist in European experience.As an American writer, Poe is deeply affected by local American literature. American Gothic fiction is nurtured from the mysterious and horrible south soil. The tradition of grotesquery made American writers create numerous grotesque groups. The painful heart and tragic life of southern American people are demonstrated. The southern literarytradition can be traced back to Brown and Poe’s Gothic works. Many critics notice the similarity between Faulkner and Hawthorn. Poe as a southerner and the ancestor of modernism is even closer to the mentality of writers like Faulkner. Without the intangible seed that Poe had planted, there is no possibility for the blossom if the grotesque novel of Faulkner. Poe is a malformed production of a malformed society, so his Gothic fictions digging into the morbid psychology and describing the abnormal behavior are the reflections of his own freaky psychological feeling.Because of the particularity of the history of the south, Edgar Allan Poe enters modern age, witnessing the changes and declining of the society. He evolves a unique study of human guile and cruelly from the American Gothic fiction. Experiencing multiple conflicts and painful torture, it discovers observantly the disaster brought by capitalism and the distortion to human nature. The southern Gothic fiction reflects Poe’s meditation. As one of the most essential response of the Gothic tradition, Poe has to dig for the food his rapidly expanding intellect requires. Not surprisingly, his appetite has, to some extent, turned inward and he is forced to feed upon himself.Chapter Four The I nnovation in Poe’s Gothic Tales Poe’s short st ories are charming and enduring. It owes much to his unique Gothic techniques apart from the Gothic tradition. He deserves to be the master of manufacturing terror achieved by the utilization of the skills of the psychological analysis, the narrator, and the symbolic accent. The adoption of the writing style is carried on even by the contemporary authors. Poe’s distinctive technique of probing deeply into the human consciousness and subconsciousness is effectively employed in his Gothic tales.The psychological analysisSince the late 19th century, the advance of analytic psychology provides literature with a vocabulary and frame of reference for interpreting Gothic writing from a humanistic point of view. (Li, 2020) One of Poe’s greatest literary achievement is his innovation of the terror tale from what have been its principal intent, to entertain by means of “curdling the blood”,to use a wildly current phrase of the times, into what have been recognized as some of the most sophisticated creations in psychological fiction in the English language. He realizes at the outset of his career that Gothicism is eminently compatible with psychological plausibility in literature, and he worksout such designs in combination repeatedly throughout his literary career.Since mentioning the psychological analysis, we must remember a person--Sigmund Freud. All of Freud’s work depends upon the notion of the unconscious, which is the part of the mind beyond consciousness which nevertheless has a strong influence upon our actions. The unconscious is a storehouse of those painful experiences and emotions, those wounds, fears, guilty desires, and unsolved conflicts we do not want to know about because we will be overwhelmed by them. Considering Poe’s own experiences, it is easy to find out that mental process of the narrator in his fictions is exactly the projection of Poe’s mental process. Poe unconsciously foreshadows the method of psychoanalysis in his works. Linked with this is the idea of repression, which is the “fo r getting”or ignoring or unresolved conflicts, unaccepted desires, or traumatic past events, so that they are forced out of conscious awareness and into the realm of the unconscious.In both literature and art, Poe’s Gothic tales principally represent psychic disintegration. It can also manifest the potential of positive integration and growth in the process of identification. The tales are about the dangers of neglecting or even repressing the unconsciousness in the process of identification. If heeded, the unconsciousness can prove positive to responsive characters becomingcurative and creative and promoting identification. If ignored, however, the unconsciousness turns negative and destructive.Psychological states are major elements in Poe’s Gothic tales.In applying the idea on identification to The Fall of the House of Usher, we find that the narrator tells a nightmare of psychic disintegration caused by the repression of the unconsciousness. From the psychological perspective, this tale can be read as a wakeful dream of the narrator. It is a journey into the depth of the self. The central subject is the human mind in a great continuous condition of disintegration. The nightmarish disintegration hints a theme of encountering of self unconsciousness with dream figures who are dominated by intellectual rationality and risks psychological breakdown. The tale represents stunted process of identification by personifying the narrator as the dream self, with the Ushers, the two parts of a single person, as his shadow, Roderick as his consciousness interrupted by unconsciousness, and Madeline as his unconsciousness. Even though the tale ends with images of Gothic disintegration, it does not ultimately illustrate an unsuccessful attempt to escape from a regressive state of psychic disintegration.The narrator: identification with the selfMany American writers before Poe tend to use the third person point of view in the works, but Poe likes very much to use thenarrator’s point of view. When the narrator depicts the heart-quake story he has experienced, he will narrate his thought and behavior as objectively as possible. Not accidentally does Poe give us a tale of disintegrating bodies, but, more important, disintegrating psyches as well, which he constructs with a mansion that looks like a human head. Granted, that “head”is grotesque in its corporeal appearance, but once again Poe directs our closer attention to what lies inside. Usually it seems to take place outdoors, but what is the precise geographical location of “a singularly dreary tract of country”(Poe, 1982:138) traversed by the narrator on horseback. I submit that even at this initial stage Poe is establishing geography of the imagination. At the House of Usher the narrator found himself, a loaded phrase which in context with the variation on “house”,helps to establish a psychological emphasis within the tale, no matter what outward Gothic trappings lie at the surface.The narrative technique through Poe’s stories is: the first person point of view narrator uses a recreate--experience syntax to narrate his story and make the readers become the principle part of the story. The narrator seems to see and think, but “I”disappear in the rhetoric structure. The reader find that they are facing directly is their own subjective impression. The early Gothic fiction writers influence the readers by describing the horrible experience directly, but Poe adoptsthis indirect method as a more skilled way to arouse the readers’enthusiasm: the key of this method depends on directness--through which directness the readers take the response of the narrator as their own response.Here is an example: the narrator “I” in the The Tell-Tale Heart is a jittery madman, “I” kills an innocent old man just because “I” can not bear the “vulture like eyes” of the old man. The story describes in great detail how “I”spends eight days scouting the old man at every midnight and family kills him, burying the body under the floor. In order to romance the unique mystery and horror of the morbid psychology in the process of killing, Poe depicts the blue light of the vulture eye under feeble midnight and the heart beating of the old man. The devilishness of the vulture eye and the louder heart beating are just the self feeling of the madman. The policemen do not hear the heart beating (we should say there is no sound of hearting beating at all), it is just the illusion of the criminal produced by dread or the condemnation of conscience. But the stimulation of the heart beating to “I” is bigger and bigger so that “I” can not bear the torture any more and shriek with madness. Poe depicts the psychological feeling of a morbid character, and passes this feeling to the readers to create the horrible atmosphere so as to achieve the author’s expects.The narrator represents the self, and the narrator undergoes aprocess of psychic disintegration, the unconsciousness, which represents his impulse of free imagination in art creativity, alive. He uses a recreate-experience to narrate his story and make the readers become the principle part of the story. In having returned to consciousness and the self-conscious role of the narrator, he has gained the perspective to make his Gothic nightmare of psychic disintegrating a forever memory and to let it affect his personality. His emphasis on what he remembers indicates that his dream has wakened him to new understanding. He has strengthened the psyche through controlled, creative contact with the unconsciousness. He is the very “eye” reporting on a special scene and giving the readers a restricted view of the surroundings in which he finds himself.Symbolic accentPoe’s another significant writing style is the symbolic accent, in which the use of symbols and omens are unique in his Gothic genre. The symbolic accent is effectively performed in his tales. In the most literal sense, all language is symbolic. Symbolism refers generally to the systematic use of symbols in order to represent or allude to something. It is an important element of most religions and the arts. Although it is in several decades when the symbolism becomes a literature movement, Poe pioneers this kind of writing style by endowing particular images orobjects with symbolic meaning in his fictions to clothe the ideal in a perceptible form, and his works, have a significant influence on and are the source of many stock tropes and images.Fletcher has ever puts that, comparing to Hawthorne, the other great symbolist in the early nineteenth century, whose symbolism depends on sight, Poe’s symbolism“depends on sound”. (Poe, 1971:52) Yet I would like to argue that Poe’s symbolic accent rests on object as well as sound and sight. Besides the beating of the hideous heart in The Tell-tale Heart, we are easily reminded of the dreadful ebony clock and untenanted figure in The Masque of the Red Death. Although Poe might keep scorning the symbolistic device as a “trick”, there comes the only agreeable conclusion by almost all the critics on him that he remains a symbolist. Along with the remarkable symbolistic accent in The Masque of the Red Death that we have earlier discussed, The Black Cat is also another eloquent justification of his fame for his allegorical-symbolic style. In ancient Greek myths, black cat is the symbol of the evil and the mysterious; in European legends, black cat is even seen as the avatar of witch with some vicious and supernatural power. The allegorical appellation of The Black Cat“Pluto”, which is the name of the King of Terrors or the dominator of the hell in the ancient Greek myth, endues with the fiction a profound symbolistic hue of the uncanny, horror and crime. Consequently, The Black Cat has。
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