Abstract:
The term Phantasmagoria was referred to a ‘magic lantern’ show. The show consists of optical illusion, in case of a horror theatre, it uses one or more magical lanterns to project frightening images such as demons, skeletons and ghosts onto walls, or semi-transparent screens, whereby allowing the projected images to move and change size on the screen, and multiple projecting devices that allowed quick switching of different images. This kind of show started in Germany in the late 18th century, gained its popularity through most of Europe throughout the 19th century especially in England.
Supernatural fiction has become one of the most celebrated literary genres of all time. The very aspect of bringing about something new and extraordinary with this type of work has fascinated many readers in the modern era as they seek out something different from the mundane works of fiction and bringing their interest towards horror and terror to feel a sense of excitement. It is astounding how the human mind works in different aspect, both in conscious and unconsciousness state, and the very aspect of delving deep into the mind of an individual brings about so much of resilience and limitless bond between the reader and the character, which is brilliantly created by the writers of supernatural fictions. This paper attempts to explore phantasmagoria in Mary Shelley’s Frankenstein and Horace Walpole’s The Castle of Otranto and tries to build a bridge between supernatural and psychological fiction.
Key-words: Walpole, Mary Shelley, phantasmagoria, terror, gothic.
The creation and opus of the supernatural phenomenon comes with the immersion of deep thoughts and creative agency that travels far beyond the natural instincts that any human can conceive of in the real world. The writers of the supernatural fictions are highly stupendous like all the other type of fictional writers who use their maximum ability of their ingenious and imaginative thoughts towards bringing about their ideas and the intended message to the readers. While their work and motives focus solely on the entertainment basis, their intention lies in bringing about realization and the ability to convince the readers through their imagination, by producing effects that can trigger the readers mind and keep them intrigued throughout the reading process. As an imaginative writer who deals with the work of unrealism and surrealistic aspect, the convincing effect in the readers mind becomes a necessary approach. Also, while bringing entertainment to the mass, the writers try to transport the mind of the readers to their imaginative world which should bring about ‘the make-believe concept’ in the reader’s mind that the supernatural things seen in the novel has happened in the real world. The writer mirrors reality with that of the unreal through the fictitious writing to give the reader a binding effect of semi-realism and considering it a work of reality which leaves the reader to question the existence of those supernatural elements found in that work. It is the work of a conscious mind to bring out in words the best of the unconscious and imaginative thought of the readers mind bridging the gap between the natural and the supernatural.
By the word exploration, it indicates the author/writer’s technicality in executing certain strategy of exposing human’s inner and emotional vulnerability, wherein the reader’s imaginative faculty is addressed with reasoning and criticality for interceding both emotional as well as reasonable approach in their reading. In many literary works, authors have created their piece or scores according to the pre-requisite of human’s creative faculty. Imagination and creation plays a vital role in understanding the appraisal of a writer’s creation on addressing his work. Human minds are placed or given a pinnacle for exploring the techniques and the author’s creative agency, thus making every reader an eligible individual of literary reading. For a writer to transform his thought process into writing, he or she may be assisted with certain literary devices which are imagery, tone, and irony and other literary techniques. It is always in the imaginative faculty of the reader that the author tries to address certain human psyche or usually the author targets the dark side of human minds which most man and women for the sake of civility and progress might want to deny or repress. This execution is held accomplish by the writer in the readers mind by use of tone which sets the environment of his literary piece and the writers’ cooperative use of irony which at his or her disposal may create suspension and dilemma in the readers mind. However, at most times it is undeniable of the way the writer uses the universality in the psychological as well as emotional vulnerability of human temperament, thus accomplishing in enabling any reader to be associated with the author’s intention of writing his works.
Originally the word phantasmagoria comes from the French word “fantasmagorie” productions of phantasms (from old French fantasme), and the second element perhaps representing Greek “agora”, meaning gathering or assembling. The term ‘Phantasmagoria’ was referred to a ‘magic lantern’ show. The show consists of optical illusion, in case of a horror theatre, it uses one or more magical lanterns to project frightening images such as demons, skeletons and ghosts onto walls, or semi-transparent screens, whereby allowing the projected images to move and change size on the screen, and multiple projecting devices that allowed quick switching of different images. This kind of show started in Germany in the late 18th century, gained its popularity through most of Europe throughout the 19th century especially in England. Merriam Webster Dictionary defines Phantasmagoria as “a constantly shifting complex succession of the things seen or imagined”, or “a scene that always changes”. Cambridge Dictionary defines phantasmagoria as “a confused group of real or imagined images that change quickly, one following the other as in a dream”. Collins Dictionary defines it as “a rapidly changing series of things seen or imagined, as the figures or events of a dream “English Dictionary defines phantasmagoria as “a dreamlike state where real and imagined elements are blurred together.”
Supernatural fiction has become one of the most celebrated literary genre of all time. The very aspect of bringing about something new and extraordinary with this type of work has fascinated many readers in the modern era as they seek out something different from the mundane works of fiction and bringing their interest towards horror and terror to feel a sense of excitement. The term supernatural comes from the Medieval Latin word “supernaturalis”, meaning beyond nature. Your Dictionary, defines Supernatural as “events or things that cannot be explained by nature or science and are assumed to originate from other worldly forces”. Oxford Dictionary also defines Supernatural as to which is “attributed to some force beyond scientific understanding or the laws of nature”. Therefore, when it comes to supernatural or super naturalistic fiction, the genre tries to bring about some contradictions of the common place natural world with that of the mystical aspects and of the extraordinary. When we talk about supernatural fiction or the notion, the very aspect of unreal, imaginary, eerie, and any unnatural occurrences are conceived in our mind. Most importantly the nature of darkness, suspense and fear become the main theme in this type of genre, as H.P. Lovecraft rightly says in ‘Supernatural Horror in Literature’, “The oldest and strongest emotion of mankind is fear”.
The castle of Otranto (1764) was written by Horace Walpole, an English writer, in the 18th century, the author’s ideal concept was taken from the ginormous house he was living in at that time, it was considered to be one of the first gothic architectural structure that has highly inspired the author in the making of the fiction, as he was also strongly fascinated with medieval history and artifacts existing during those time. With his imaginative capability, he was able to bring about aesthetic and ‘Walpole himself certainly saw his novel as a product of its time’ (introduction to the novel), which have incredibly shaped the rising gothic novel of that time and also the modern-day gothic books and all the sub gothic culture as a whole. He wrote to Hannah More on November 13, 1784: “It was fit for nothing but in which it was written, an age in which much was known; that required only to be amused, nor cared whether its amusements were conformable to truth and the models of good sense; that could not be spoiled; was in no danger of being too credulous; and rather wanted to be brought to imagination, than to be led astray by it” (introduction). During the eighteenth century, the ghost scene was central to any plays or drama. We see in The Castle of Otranto it features ghostly images, the spirits that emerge from the paintings and the unusual events that took place within the castle. The novel talks about supernatural appearances to the characters, by which the author tries to let us understand the reason behind the spirits appearance, maybe to take revenge, or the death which still need to reveal out the truth and through that, the secrets will come out. This is exactly what happened in terms of Manfred, the prince, who was not the rightful heir to the kingdom; he faced certain supernatural encounter in order to bring out the rightful heir into that kingdom.
The masterpiece of Mary Shelley’s Frankenstein (1818), is also considered to be a gem among the most celebrated gothic literature of that time and our time as well. It was during the summer of 1816, Mary along with her other companion decided to write a ghost story. Initially, it was Lord Byron’s suggestion to write the ghost stories, most apparently, they were inspired by a collection of German horror stories that was translated under the title ‘Fantasmagoria’. Following the conversation and the discussion that they had, Mary had a nightmare that gave rise to the central idea of creating her horrified monster. In her 1891 preface to the book, Mary gave us the description of how her nightmare has heightened her consciousness of terror and that very experience she faced, was then transformed into something beyond what she could have ever thought of creating it before, i.e. writing the book Frankenstein. She says, “My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with vividness far beyond the usual bounds of reverie. I saw the pale student of the unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine show signs of life and stir with an uneasy, half-vital motion….” (pg. 283). We see how Mary had undergone through terror herself that gave her the idea of creating one in the work of a fiction. Therefore, the supernatural writers think and imagines like all the other fictional writers, but what differ them from the other writers is the ability to think out of the box, of something that is extraordinary and that which is not of some natural occurring phenomenon, in case of some extreme fictionalized work like the Vampires or the Zombies.
The intermingling of the romantic element in the work of the supernatural became one of the most reputed and highly established literary combinations, which effortlessly tries to bring out the terror alongside the natural romanticism. Bringing in the romantic aspects, it gave a natural outlook to the highly imaginative work of the gothic horror, otherwise it may sometimes become too much of a superfluous dialogue with no ordinary things occurring in it. The main function of the romantic element in the fiction is to bring about a sense of literary pleasure that should inspire the reader’s emotions and the feeling of contentment. Therefore, the supernatural functions acts as an extension of the romantic notion, keeping in mind the outcome of the reader’s interest, bringing in a thrilling effect and terror that will convince the readers.
Walpole in his book The Castle of Otranto, claimed that his book blended with “two kinds of romance, the ancient and the modern. In the former, all was imagination and improbability: in the later, nature is always intended to be, and sometimes has been, copied with success” (introduction). He states that his aim was to place his characters in extreme conditions: “in short to make them think, speak and act, as it might be supposed mere men and women would do in extraordinary positions”. And the result of it was “a new species of romance”. The author tries creating more interesting situations by blending in together the romantic element under the dispensing of miracles and witnesses that they come across. As we see the character of Matilda, who was drawn by the image of Alfonso’s picture that was hung in the gallery, “which you sit and gaze for hours” (pg.38). She literally couldn’t believe her eyes when she saw Theodore who exactly resembles the picture that she admires dearly. “Heavens! Bianca, said the princess softly, do I dream? Or is it not that youth the exact resemblance of Alfonso’s picture in the gallery?” (pg.51). Here we see how Horace has cleverly blended together the romantic element with that of something mystic and miraculous, something that shouldn’t happen. He also uses other characters, such as Manfred who wants to take his daughter-in-law for marriage after the tragic loss of his son, the unconvincing approach towards his wife Hippolita, the unrequited love of Isabella towards Theodore, and the unfulfilled love between Theodore and Matilda, all this different relationship that arouse during time supported the ongoing plot. The nature of the settings, the undergoing feelings and the overall quest in finding the rightful heir through supernatural events, contributed to the romantic-gothic element.
In Frankenstien we see how well Mary Shelley has incorporated the romantic element with the supernatural theme. The romantic aspect of nature itself contributed to the gothic element, “I pursued nature to her hiding places. Who shall conceive the horrors of my secret toil, as I dabbled among the unhallowed damps of the grave, or tortured the living animal to animate the lifeless clay?” (pg.52). Just the fact that Victor wanted to make something extraordinary by creating a life from the dead gave an insight on his romantic notion, “A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me”. His passion and love for natural philosophy, his relationship with friends, family, and his beloved Elizabeth, all this becomes a necessary aspect in bringing out the extra from the ordinary. The monster that Victor created is a romantic hero himself. He was rejected, and out of the need to feel accepted and to acquire a sense of belonging in a place where he doesn’t belong, he sought out a quest of survival. This is what he said to Frankenstein “Believe me, Frankenstein: I was benevolent; my soul glowed with love and humanity: but am I not alone, miserably alone? You my creator abhor me; what hope can I gather from your fellow-creatures, who owe me nothing? They sprung and hate me”. (pg.114)
The intriguing effect of the rising plot:
In terms of producing a fantastical idealism to the readers, it is necessary that the supernatural writers bring out the intriguing effect of the readers that will arise as the plot starts to proceed. Every chapter or progress of the plot is like a thread that binds with the next, in order to reach the climax, giving the readers the ability to digest the preceding plot which will lead up to the next suspension. Horace in the first preface to his novel The Castle of Otranto, he mentions, “There is no bombast, no similes, or flowers (meaning embellishment or ornaments), digressions, or unnecessary descriptions. Everything tends directly to the catastrophe. Never is the reader’s attention relaxed” (pg.6). Therefore, whatever is written is necessary and not superfluous. The readers are unaware of what the actual result or catastrophe will be, but through the incidents happening in the ongoing plot, they will be able to be consistent as they proceed with their reading. The suspense or the enthralling effect of the readers in supernaturalism itself is an aspect of phantasm and imagination, as the readers will be able to imagine or even hypothesize the outcome of the novel.
Horace mentions, “if the air of miraculous is excused, the reader will find nothing else unworthy of his perusal” (pg.6). Therefore, the writer should be able to present the plot in such a way that the interest and suspense of the readers will increase as the narrative starts to reach the climax. In Mary Shelley’s Frankenstein, we see how she uses certain devices to bring out the progress of the plot. She uses the form of an epistolary narration of Walton writing to his sister, we see this form at the beginning part of the novel and also at the end. Therefore, the whole story about Frankenstein and his hideous monster that he created was within the singular frame of Walton’s letter. Starting from the story of Walton himself about his expedition, to the encounter of Frankenstein, leading to the revelation of Victor’s creation which was narrated by Victor himself, the suffering and the loss caused by the dreadful monster, and the monster recounting about his survival to his creator Victor Frankenstein-the reason behind all his doings, into meeting the monster later by Walton, all these progress in the plot gives the readers an intriguing effect in the ongoing plot without their interest being ever languished.
Humour puncturing the Supernatural effects:
It is absurd to even imagine that a humour be produced in the Supernatural fiction, when all the intention and motives of the writers focus on bringing about terror and the thrilling effect produced by the unreal and supernatural elements, the blend of humour in the novel becomes an element of surprise and unexpected narration. By adding humor and irony in the fiction, the writers do something out of the box, they incorporate humor alongside terror and fear, which give the read a more interesting one. Humour or comedy acts as an agent of relaxation from the serious events that is taking place in the novel. For some, it is humour that keeps the binding force of action, building the atmosphere of excitement between the book and the reader and the events that is taking place in it. The author can present it in different scenario, in case of a neutral action that is taking place, or they can even combine it with the element of terror itself, producing a humorous effect to it. We see the blending of this element in the novel, The castle ofOtranto, where the servants of Manfred, Diego and Jaquez, tries to explain to him about their encounter with the inanimate creature in the gallery. The conversation they had, produced a humorous effect as the two were unable to speak clearly after they were shuddered by the ghostly apparition they had just witnessed. “Jaquez and I, my Lord- Yes, I and Diego, interrupted the second…speak one of you at a time, said Manfred; I ask you, where is the princess? We do not know, said they both together: but we are frightened out of our wits. – So, I think, blockheads, said Manfred: what is it has scared you thus? – Oh, my Lord! Said Jaquez, has seen such a sight! your highness would not believe our eyes… Diego and I- Yes, I and Jaquez, cried his comrade- Did I not forbid you to speak both at a time? Said the prince: You, Jaquez, answer; for the other fool seems more distracted than thou art” (pg.31-32). At first, we see how Manfred was furious and treated the terror of his servants as an idle panic. The unarticulated remarks given by both the comrades added a distraction from the serious tone that should be the prior source during that instance. It gives us the readers a break from the suspension, or also, we experience the exhilarating feeling of terror alongside humour.
Settings assisting Phantasmagoria:
The most terrifying thing about supernatural fiction or novel is not only the phantasmagorical occurrences of the supernatural being or monster, a lot of it has to do with the setting itself to further challenge the effect of terror. The setting in the novel contributes to the horrific situations that the characters come across, or even the unnatural occurrences mostly happens in a setting where it gives the readers creeps about that place even before the incident takes place. There is no argument about how well the writer can depict or portray the characters in any situation, well, they have the talent in producing such mystical and phantasm, but what use is it if there is no proper setting to contribute to the effect of terror and fear that the author wishes to produce. Therefore, when trying to create a piece or work that is worth satisfying the readers, it is necessary that the author implement a generous amount of exceptional settings inclusion of everything that tends to bring out horror and distress.
In Frankenstein, we see the use of setting in the most unusual way, “who shall conceive the horrors of secret toil, as I dabbled among the unhallowed damps of the grave…I collected bones from the charnel houses; in solitary chamber, or rather cell, at the top of the house, and separated from all the other apartments by the gallery and staircase, I kept my workshop of filthy creation;… the dissecting room and the slaughter-house furnished many of my materials;” (pg.52). The setting where the monster was created is indeed dreadful, who can imagine the ability to withstand such place where the dead body parts are collected and being kept. It triggers our soul to the deepest fear. While Victor was on his way home, to Geneva, after he learnt about William’s dead, he described to us the setting where he encountered the monster for the first time after he escaped from him, “The road ran by the side of the lake… I discovered more distinctly the black side of Jura, and the black summit of Mont Blanc...another storm enlightened Jura with faint flashes; and another darkened and sometimes disclosed the Mole, a peaked mountain to the east of the lake…I perceived in the gloom a figure which stole from behind a clump of trees near me;… its gigantic stature, and the deformity of its aspect,… the filthy demon to whom I had given life…the figure passed me quickly, and I lost in the gloom… He was the murderer! I could not doubt it” (pg. 78-80). As the story progresses, we also see the various places where the monster had to reside in order to shelter himself, in which sometimes while in the process of finding a home, he would be encountered with people who feared at the sight of his horrified creation and body.
Horace’s novel The Castle of Otranto, the setting was highly inspired by the ancient-medieval gothic architecture. In A Description of the Villa of Mr. Horace Walpole (1784), he perfectly has stated that his intention was “that of exhibiting specimens of Gothic architecture, as collected from standards in cathedrals and chapel-tombs and shewing how they may be applied to chimney-pieces, ceilings, windows, balustrades, loggias…”. This statement was in reference to his villa, Chopp’d Straw Hill, that he bought at Twickenham, which he renamed it as Strawberry Hill. He remodeled, embellished and extended the house in the Gothic Style; it became one of the most acclaimed architectural attractions during the eighteenth century. In the novel, we see how Horace uses his descriptions about the settings generously. “The lower part of the castle was hollowed into several intricate cloisters; it was not easy for one under so much anxiety to find the door that opened into the cavern…the rusty hinges were re-echoed through that long labyrinth of darkness” (pg.26). The whole story revolves around the castle which presumably is really old, and that holds eerie vault, secret passages, trap doors; which we see during the escape of Isabella from Manfred, the subterraneous passages, dark hallways and corridors, and possibly including secret rooms and ruined sections which contributes to the mystery and fear. “But for heaven’s sake, good my Lord, send for the chaplain and have the castle exorcised” (pg. 33). Every encounter of the supernatural elements in the novel was contributed by the powerful settings, in which the readers could feel the creep and suspense as the characters witness the phantasm.
Terror: The authors’ projectile
Talk about dreadfulness and horror in the story, the writers of the supernatural fictions are most capable of bringing to the readers about how it’s done, by effortlessly indulging themselves into deep thinking and also through their imaginative competence to produce the supernatural effect in the most natural way. We see how they cleverly used every gothic element in the right amount and at the right time to deliver the most dreadful sight to the characters witnessing it. The main objective of a supernatural fiction is to drive out terror in the mind of the reader; therefore everything they portray in the story, right from the beginning, is a way of interpreting the catastrophe that’s waiting ahead in the upcoming scene. Horace in his preface to the first edition of The Castle of Otranto, he says, “Terror, the author’s principle engine, prevents the story from ever languishing; it is so often contrasted by pity, that the mind is kept up in constant vicissitude of interesting passions” (pg.6). We see here how the component of terror keeps the reader intrigued and the characters in the novel itself brings justification in creating a perfect plot of supernaturalism.
The authors bring out terror in different aspect, in case of The Castle of Otranto, Horace drives out the element of terror with the use of spirits on inanimate objects and ghostly apparition that the characters witnessed and experienced. From the first chapter of the novel itself, we see how things started to change in the lives of the Prince and his family. Manfred’s son Conrad, who was quite sickly and the only heir to the throne, was supposed to be married on his birthday, but as they wait for the delayed young prince who was not on time, the impatient Manfred sent out his servant to go look out for Conrad, which soon after, “The servant, who had not staid long enough to have crossed the court to Conrad’s apartment, came running back breathless, in a frantic manner, his eyes staring, and foaming at the mouth. He said nothing but pointed at the court. The company were struck with terror and amazement…cried out, Oh, The helmet! The helmet!” (pg.18). We see here, how the author used the servant to bring out the curiosity and amazement of the others who has not witness the thing he saw that made him fear to the extent that he could not even speak up. It is through this, that the readers realize something dreadful and horrifying is coming up in the following scene. In fear and out of curiosity, they ran out to see what was going on and, Lo and behold! What a sight they saw. “He beheld his child dashed to pieces, and almost buried under an enormous helmet, an hundred times larger than any casqued ever made for human being, and shaded with a proportional quantity of black feathers.” (pg.18) The horrifying state of the spectators, the sudden and inexplicable misfortune and the tremendous phenomenon that occurred before him, left the prince speechless. He was terrified to his bones. Things gets more heated up when a young peasant from a neighboring village said he, “observed that the miraculous helmet was exactly like that on the figure in black marble of Alphonso the Good, one of their former princes, in the church of St. Nicholas” (pg.20). Here we see the supernatural aspect that took over the entire scenario of what just happened. If what the young peasant said was true, then how is it possible that the humungous helmet reached there. If so, then it must truly be the work of a supernatural being that is hovering around in the palace. That must be the suspicion that is going on in the mind of the spectators and the prince himself. Well, this is not the only time they witnessed this kind of dreadful sight, maybe it was a way of proving what the young peasant said was actually true. The two comrades who encountered a similar kind of situation, where they witnessed something that brought great horror to them. “it is a giant, I believe; he is clad in an armour, for I saw his foot and part of his leg, they are as huge as the helmet below in the court” (pg.33). Bianca, Matilda’s maiden also later witnesses the same, the giant’s hand which terrified her to her bones and announcing that she will not then sleep in the castle that night.
In Frankenstein, we see how Mary inculcated the effect of terror in the most natural way, since the monster himself dreaded at the sight of his own image. “I had admired the perfect forms of the cottagers…but how was I terrified, when I viewed myself in a transparent pool!... I was filled with the bitterest sensations of despondence and mortification” (pg. 132). We also see the monster’s reaction towards his creator after he found some papers from the pocket of the dress that he got from the laboratory, he started to study them diligently. The paper was the journal of his creator that describe every step of the work and progress in creating the being. After completing the paper, this is what has to say, “I sickened as I read. ‘Hateful day when I received life! I exclaimed in agony. ‘Cursed creator! why did you form a monster so hideous that even you turned from me in disgust? God in pity made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid from its very resemblance” (pg. 154). The outcome of the creation was different from what Victor Frankenstein has in his mind when he first started creating the being. In his perusal of making something extraordinary, it only caused him to his own fateful terror. He describes the inexplicable sight he witnessed after the creation came to life, “I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs…Beautiful! - Great God! His yellow skin scarcely covered the work of his muscles and arteries beneath; his hair was of a lustrous black and flowing; his teeth of pearly whiteness; but these luxuriance’s only formed horrid contrast with his watery eyes, that seemed almost the same colour as the dun white sockets in which they were set, his shriveled complexation, and straight black lips.” (pg. 55-56). What a dreadful sight it must’ve been that, Victor was beyond speechless and shocked to see what has come about in his creation that he so dearly and consistently has put all his heart and soul in giving life to the dead. After witnessing the monster, he thought to himself, “it became a thing such that even Dante could not have conceived” (pg.57). The creation didn’t stop there, when the monster appeared and ask Victor to make a companion for him, something that Victor could not have ever imagined of doing. He accepted the proposal only because he was scared, that the monster might harm more of his love ones. He goes back and retreated himself into his old laboratory. He remembered three years back, he was engaged into creating the monster that he now loathes with everything he is, in which a thought clicked his mind. “She might become ten thousand times more malignant than her mate…He had sworn to quit the neighborhood of man and hide himself in the deserts; but she did not…they might even hate each other… she might turn disgust from him to the superior beauty of man” (pg.203-204). Victor sensed the terror and the horrific outcome if he continues to create that deformed female creature. The monster himself saw Victor “destroy the creature on whose future existence he depended for happiness” (pg.205).
When upon trying to comprehend as to why the ghostly apparition or the supernatural destruction of any case occurs, it is the authors knack to let the readers know that the reason behind it, may be due to the unfulfilled task of the dead in the past, by which the spirit appears showing them signs, like that in the novel of The Castle of Otranto, or it can also be a reason of vengeance or revenge where the supernatural being, brings about destruction as seen in the novel of Frankenstein. Either way, we see that the reason for their appearance is the manifestation of showing the characters what their true intentions are. In case of the monster in Frankenstein, Shelley showed us in detail about why the monster had to behave in that way. After escaping from the laboratory, he was forced to face the harshest realities, in which at the initial stage he was unaware about how he looked. He was run off by people who dreaded at the sight of his appearance, and his inability to understand what was going on and the need to survive intertwined his existence in the world of the ordinary. Soon after finding out his creator, and the abandonment he faced, it gave rise to the feelings of revenge and hatred. He tried to show love the same way people did when he observes them, trying to make friends, but only leading them to cast him out. He was overcome by the thought of revenge and vowed eternal hatred and vengeance to all mankind. “My sufferings were augmented also by the oppressive sense of the injustice and ingratitude of their infliction” (pg. 168). Therefore, “I will revenge my injuries: if I cannot inspire love, I will cause fear; and chiefly towards you my archenemy, because my creator, do I swear inextinguishable hatred. Have care: I will work on at your destruction, nor finish until I desolate your heart, so that you curse the hour of your birth.” (pg. 173) Here we see why the extreme cause of all the miseries and the suffering that had befallen upon Victor’s family, all this was because of the monster’s terrible will to destroy the one who created him to live in such miserable and isolated condition that made him a complete outcast.
In The Castle of Otranto, we see how the characters witnessed supernatural apparition or a dreamlike situation, right from the beginning of the chapter, the helmet that had fallen upon Conrad was said to be similar to that of the good Alphonso, who had died long ago. The giants that they encounter, and the picture that seemed to have made a move, the striking resemblance of Theodore to the late Alphonso, all this, they had not in their slightest mind thought this to be a sign that the ghost or the spirits were trying to tell them. At the end part of the novel, we see how the climax has reached to its ultimatum. The supernaturalism itself make way for it to work on its own, witnessing a huge clad of thunder that shook the castles to the core of its foundations, hearing all kinds of noises clank of many armours, this made them dreadful to their innermost soul. Right after the arrival of Theodore, we see the strangest thing that will always leave the readers awestricken, “the walls of the castle behind Manfred were thrown down with a mighty force, and the form of Alphonso, dilated to an immense magnitude, appeared in the center of the ruins. Behold in Theodore, the true heir of Alphonso! Said the vision.” (pg.103) Therefore, we see how the prophecy has been fulfilled at the end of the novel. Everything they had witnessed was a part of how the author tries to bring to us the readers, a suspicious feeling at the start and a satisfying one at the end, with all the things falling into its own rightful places through the occurrences of all the supernatural events that took place.
The State of delirium:
The phantasmagorical experience or the delirium that the characters go through in the gothic fictions are due to the encounter of the most unexpected event and the supernatural appearances that they witness, leading them to have optical illusions or hallucination. The extreme terror resulted them to think that they are seeing things or gives them the idea of being in a frenzied state. In the novel ‘Frankenstein’, after the death of Henry Clerval, Victor’s friend and benefactor, a fever succeeded him, and he lay on bed for two months where he was too weak, thinking that he was at the point of dead. “My ravings, as I later heard were frightful; I called myself the murderer of William, of Justine, and of Clerval… and, at others, I felt the fingers of the monster already gasping my neck, and screamed aloud with agony and terror.” (pg.218). Victor had a delirium where he imagined that the monster was trying to take his life too. All the previous murders done by the monster were strangled, therefore he envisioned the monster doing the same to him, which caused the witnesses to feel petrified looking at the gestures and the bitter cries given out by him. After all that he has gone through, he must’ve wished that this was all but just a dream that the needs to wake up from. “The whole series of my life appeared to me as a dream; I sometimes doubted if indeed it were all true, for it never presented itself to my mind with the force of reality” (pg.220). He wanted to think that whatever happened didn’t actually happen in the real life. In the ‘Castle of Otranto’ we witnessed how Manfred witnessed something unreal and supernatural as he was talking to Isabella, “At that instant the portrait of his grandfather, which hung over the bench where they had been sitting, uttered a deep sigh and heaved its breast… Do I dream? Cried Manfred returning, or are the devils themselves in league against me? Speak, infernal specter!” (pg.25). As he returned to the chamber, the door closed by itself, with violence by an invisible hand. Also, later after he saw Theodore dressed in the armor, he was shocked to see that the young guy resembles the lost Alphonso, “what! Cried Manfred breathes- dost thou see nothing; Hippolita? Is this ghastly phantom sent to me alone… what, is that not Alphonso? Cried Manfred: dost thou not see him? Can it be my brain’s delirium?” (pg. 77). Manfred was definitely awestruck at the sight of that unexpected resemblance between Theodore and the long-lost prince. How is it possible that someone long gone should appear again or even the resemblance was too real to be true to think that it was wrong? The thought of this must’ve dreaded the poor Manfred to think that this was all a dream, or he was being the only one to witness the drastic illusion. Sometimes out of the extreme supernatural experience, they think that they are dreaming therefore they had to look twice or more at that. Also, due to all the terrible things that they had gone through they are caught up with the idea of experiencing them again which causes them to have terrible dreams that made it seems too real to be untrue. A complete state of delirium takes over them. We also see the attitude of Hippolita who was reluctant to believe the story of the two servants who said they witness a giant. She believed that that entire thing about visioning the giant leg was nothing but a story, something that aroused because of fear in the minds of the servants due “to dark and dismal of the night”. She assured Manfred that she visited the gallery and the great chamber but did not witness any of those unnatural events. Therefore, we can state that the characters that undergo through serious delirium and hallucination were a result of the things that do not wish to experience or encounter.
Suffering and Loss with Trepidation:
The repercussion of losing someone dearly loved is beyond explicable. We see how the characters portrayed in the supernatural fictions also go through the same after they are faced with the inevitable circumstances of loss through supernatural outcome. Destruction resulting to loss and suffering. In the novel Frankestein, we see a series of death and suffering after the fatal creation of the monster by Victor. He said, “Nothing is more painful to the human mind, then, after the feelings have been worked up by a quick succession of events, the dead calmness of inaction and certainty which follows, and deprives the soul both of hope and fear.” (pg. 101). He was still unsure and insecure about what more the monster will do to the rest of his family. The feeling of loss and uncertainty had him feel remorse and regretful for creating such a being. After the death of William, Victor’s youngest brother, Elizabeth, the beloved of victor was in utmost shock to see the corpse of the little boy, “she fainted, and was restored with extreme difficulty. When she again lived, it was only to weep and sigh.” (pg. 76). The pain and suffering brought to the family was huge. Soon after which Justine was accused of killing the young boy in which she was then executed. Victor in order to let further destruction and killing stop, he agrees to the monster about creating him a partner. But realization soon dawned upon him to give up his attempt on making another monster, who might later become more dangerous. This made the monster raged and thus following up with the death of Henry’s close friend, clerval. when Victor first saw the lifeless form of his dearest friend stretched before him, he eventually became numb, and gasped for breath, by which throwing himself on the body, he exclaimed, “have my murderous machinations deprived you also, my dearest Henry, of life? Two I have destroyed already destroyed; the other victims await their destiny.” (pg.218) He could not believe all that was happening and all of this, because of his mastermind that he was so proud of before. He was overcome with extreme suffering and, Clerval his dearest companion, had fallen victim before him and the monster of his creation. Following the dead of Henry’s, the monster then murdered Victor’s wife, seeing the lifeless form of his wife, he fainted. After his recovery he soon is held her cold body in his arms and embraced Elizabeth whom he loved and cherished deeply. The feeling of loss he experienced has left a huge vacuum in his heart. “Why God! Why did I not then expire! Why am I here to relate the destruction of the best hope, and the purest creature of earth?” (pg.241). We also see not only the human suffered here in this novel, the monster who was abandoned by his creator suffered through his quest for survival. In The Castle of Otranto, after the miraculous dead of the young Prince, we see how they grieved for the loss of their beloved Conrad. His death was not of the ordinary one, but it was more of a shocking sight to the spectators. A huge helmet, hundred times larger than any casqued, falling from nowhere had crashed the young prince to bits and pieces. Since Conrad was the only son to Manfred and Hippolita, it must’ve been hard to lose him and also the only heir who can take after his father’s kingdom. Hippolita was assisted to her chamber feeling more dead than alive. Matilda, Conrad’s sister was smothered on her own grief, as she looked after her mother. Her only care was to assist and comfort her parents from the dreadful thing that had just happened. Matilda, later who was stabbed by her father Manfred, mistaking her for Isabella, brings out the most remorseful emotions in the heart of the cruel Manfred. “He dashed himself on the ground and cursed the day he was born” (pg.101). When Hippolita was informed about the dreadful catastrophe, she rushed out to meet her beloved child who was murdered, and in witnessing the lifeless body lying there, “the mightiness of her grief deprived her of her senses, and she fell lifeless to the earth in a swoon” (pg. 101). Therefore, in whatever situation the loss may have occurred, the feeling of brokenness and loss are the same.
The Supernatural fictions have become one of the highest kind of production in the platform of literature and art. What distinguishes this work of art from the rest is simply the effect of bringing to the reader’s attention towards the imaginative capability of the author while portraying the extensive and broad study of the nonexistence or the fantastical aspect of horror and distress. With the reference books used in the second chapter: The Castle of Otranto by Horace Walpole and Frankenstein by Mary Shelley, it is safe to say that the readers are capable to be drawn towards this particular type of fictions; the instant ability to insert into the readers mind about the whole make-believe attitude through the over exaggerated characters or simply causing the readers to attend to the notion that the ghostly appearances are indeed real and thus bringing to the readers mind a sense of fear and disillusionment. We also see how the author’s use terror as the utmost projectile, at the same time it does not misguide the readers by directly showcasing the effect of the fateful events or occurrences without bringing a gradual evolvement of the plot, in which the rising plot are gradually produced through the intriguing effect in the readers mind, otherwise the outcome of the sudden horror may be a little too startling to the readers. In every occasion, we also see how the authors brings to us the usage of language appropriateness for this type of genre, therefore, the narrative style and technique adds up to the essence of producing a startling effect in the readers minds while the actions of the supernatural events take place in the novel. The exhilarating effect of this particular genre is that; the author does not only give us his unprecedented imagination or ideas, but the very aspect of capturing the readers interest towards the story or the ability to give the readers its own imaginative perspectives towards the characters or the plot itself, is a maximum degree of delivering a perfect attempt to the world of entertainment.
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