аЯрЁБс>ўџ Y\ўџџџZџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅСY ПF*bjbjѓWѓW |P‘=‘=с$W џџџџџџ]ФФФрјјј4,,,,h”Ј,\ 8аацццL N N N -{ дO д# $”єˆиG јG Zјјцц4аZZZŒјцјцL ,,јјјјL ZђZL јјL цФ `ЯаньчО,,ІДL Terror and Horror in the Gothic Novel Ann Radcliffe and Matthew Lewis Definition of the terms Critics have used the terms terror and horror to distinguish between two distinct types of Gothic fiction, with Radcliffe and Lewis being the prime examples of each, although the difference is not always clear and some writers, including Radcliffe herself, cross the line between the two. Ann Radcliffe herself defines these terms in an essay called ‘On the Supernatural in Poetry’ written in 1826 and published posthumously. Her ideas were influenced by Edmund Burke’s writing ‘A Philosophical Enquiry into the Origin of Our ideas of the Sublime and the Beautiful’ of 1757 in which he says: ‘whatever is in any sort terrible,…is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling. I say the strongest emotion, because I am satisfied the ideas of pain are much more powerful than those which enter on the part of pleasure’. He goes on ‘When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be and they are delightful’. In Radcliffe’s definition she adds a distinction between terror and horror: Terror is characterised by ‘obscurity’ or indeterminacy in its treatment of potentially horrible events – it is this indeterminacy which leads to the sublime. She says in the essay that it ‘expands the soul and awakens the faculties to a high degree of life’. Horror in contrast, ‘freezes and nearly annihilates them’ with its unambiguous displays of atrocity. She goes on ‘I apprehend that neither Shakespeare nor Milton by their fictions, nor Mr Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in uncertainty and obscurity, that accompany the first, respecting the dreader evil’. Ann Radcliffe obviously thought of the idea of terror as a profound concept and she makes many references to Shakespeare in The Mysteries of Udolpho. The mysterious figure which appears on the ramparts, for example, and terrifies the guards is reminiscent of the ghost of Hamlet’s father which appears at the opening of the play. In the same essay she goes on ‘Whoever suffered for the ghost of Banquo, the gloomy and sublime kind of terror, which that of Hamlet calls forth? though the appearance of Banquo, at the high festival of Macbeth, not only tells us that he is murdered, but recalls to our minds the fate of the gracious Duncan, laid in silence and death by those who, in this very scene, are revelling in his spoils. There, though deep pity mingles with our surprise and horror, we experience a far less degree of interest, and that interest too of an inferior kind. The union of grandeur and obscurity, which Mr Burke describes as a sort of tranquillity tinged with terror, and which causes the sublime, is to be found only in Hamlet; or in scenes where circumstances of the same kind prevail’. Terror is mysterious, leaving almost all to the imagination, whereas horror is specific and defined. Devendra P. Varma in The Gothic Flame  writes that ‘The difference between terror and horror is the difference between awful apprehension and sickening realisation: between the smell of death and stumbling against a corpse’. Horror is dealing with the specifically horrible or revolting and is more of a physical experience - one that you can imagine turning the stomach. Terror, because it is dealing with the unknown, leaves the imagination to go beyond the physical to the spiritual and this is why terror is seen generally as a superior or richer experience. It is not that clear cut though - Devendra Varma, commenting on Burke, writes that ‘he related only Terror to beauty, and probably did not conceive of the beauty of the Horrid, the grotesque power of something ghastly, too vividly imprinted on the mind and sense’. Robert Hume, in an essay in PMLA, writes that ‘Terror-Gothic works on the supposition that a reader who is repelled will close his mind…to the sublime feelings which may be realised by the mixture of pleasure and pain induced by fear. Horror-Gothic assumes that if events have psychological consistency, even within repulsive situations, the reader will find himself involved beyond recall’. He says that the Radcliffe / Walpole novel uses conventional distinctions between good and evil and the device of suspense whereas the Lewis novel is more concerned with moral ambiguity and is actually more serious and profound. Matthew Lewis spent a year in Germany at the age of seventeen and was much influenced by the Schauer-Romantik or horror-romantic tradition in German literature which is full of ghosts, devils and torture. He had also just read The Mysteries of Udolpho when he wrote The Monk and was very impressed with it. The Monk can be seen as an attempt to outdo Udolpho by actualising all that Ann Radcliffe suggests especially sexual violence. The supernatural is not explained away with rational causes: Long drawn out suspense is replaced with short climactic scenes. It can crudely be seen as masculine Gothic as opposed to Radcliffe’s feminine Gothic but to see terror as feminine and horror as masculine would be over simplifying. Robert Platzner replies to Hume’s PMLA article by questioning the usefulness of the terms terror and horror at all in defining the Gothic novel. He says that ‘Mrs Radcliffe [herself] compulsively places her heroine in situations of overwhelming anxiety in which a gradual shift from terror to horror is inescapable’. He quotes a passage to illustrate (See next page). He comments that Emily’s experience here is nearer to pure horror – to me, however, it seems that the distinction of terms is one which is referring to our experience rather than that of the character. The notes to the Oxford World Classics edition define Emily’s lifting of the veil when she sees what she thinks is a corpse as an experience of horror for her but one of terror for us because we don’t know what she has seen. We might think that what horror does is to actualise the very worst that terror could make us imagine anyway in which case it is false to see horror as an inferior concept. I think it depends on whether you see it this way or whether you see terror opening the mind to other possibilities which could never be physically actualised. I think finally this depends on whether you have any notion of the spiritual and the existence of evil and whether you think there can be anything worse than the worst physical horror one could imagine. The separation of the two concepts is one which survives, superficially. In film terms, The Mysteries of Udolpho is a thriller and The Monk is a horror movie. Hitchcock, for example, uses terror in his long drawn out suspense but there is often the horror pay-off as well (probably a modern audience would feel disappointed if there was not one) - in ‘Psycho’ I would describe the shower scene as nearer to terror while the discovery of Norman Bates mother as a decaying corpse in a chair is a moment of horror. In this case horror is not necessarily an inferior concept but I personally just find the terror of a thriller more enjoyable than the experience of watching a horror film. This doesn’t really hold comparison however with the ghost in Hamlet and all its layers of religious and supernatural suggestion of another world beyond this as well as its psychological and what we would see as Freudian suggestion of the haunting of an individual by his past. I think this depth of suggestion is what interested Ann Radcliffe regardless of whether or not she achieves it in The Mysteries of Udolpho. I think the novel can be seen as The Castle of Otranto meets Clarissa revealing how the Gothic novel actually shoots itself in the foot by using formulaic devices such as castles, nuns, cruel step-parents, apparitions and distance in time and place (usually Mediaeval Spain or Italy) in an attempt to make it more terrifying – The most terrifying novel of the eighteenth century is Clarissa because it is realistic and close to home. Clarissa is imprisoned by her own mother and father and is drugged and raped by an English gentleman in a way that is far more disturbing than the dungeons and necrophilia in The Monk. Extracts The Mysteries of Udolpho “A return of the noise again disturbed her; it seemed to come from that part of the room which communicated with the private staircase, and she instantly remembered the odd circumstance of the door having been fastened, during the preceding night, by some unknown hand. Her late alarming suspicion concerning its communication also occurred to her. Her heart became faint with terror…she saw the door move, and then slowly open, and then perceived something enter the room, but the extreme duskiness prevented her distinguishing what it was. Almost fainting with terror, she had yet sufficient command over herself to check the shriek that was escaping from her lips…but then advancing slowly towards the bed, [it] stood silently at the feet where the curtains, being a little open, allowed her still to see it; terror, however, had now deprived her of the power of discrimination, as well as that of utterance”  Published posthumously in The New Monthly Magazine 7, 1826, pp 145-52.  Devendra P. Varma, The Gothic Flame, (New York: Russell & Russell, 1966).  Robert Hume,’Gothic versus Romantic: A Revaluation of the Gothic Novel’, PMLA 84 (1969), pp. 282-290.  Robert L Platzner, ‘’Gothic versus Romantic’: A Rejoinder’, PMLA 86 (1971), pp 266-74.  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