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Module 1: The ‘Explained Supernatural’, Gothic Sublime, and Aristocratic Villainy

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Gothic Castle and Gothic Energy

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Video 1: Gothic Energy of the Castle
Hello and welcome to this lecture on the mysteries of it all for in today's session, we'll be continuing the discussion of the Gothic castle, and we'll also be talking about a Gothic energy and got the sensibility. The image on the slide is the title page to the mysteries of your dog. And, um, that title page, there is a poor fragment.There are four lines of poor, thick, um, worse. And let's see what those lines are about. Fate sits on these dark battlements and forums. And as the portals open to receive me, her voice in salon echoes through the coats tales of nameless deed. So it is very, very, um, uh, suggestive. Isn't it. So, uh, it, it seems to kind of invite the reader and, uh, it is inviting not just the reader, but also the character.So it could be the voice of, um, several people. Uh, it could be of Emily scent or Burke, who seems to kind of look at these, um, battlements, um, adults, those battlements and, um, Imagine sate as a character sitting on top of it. And , it's not an invitation, it's not a pleasing invitation for the guest. It is frowning on the guest and the back of mint or dark.And we should also remember that the reference to battlements immediately, just that the structure is of a console. For fortress. So fates it to these dark battlements and frowns. And as the portals open to receive me, and as the Gates open to receive the guest, the wisdom, her, her Wars, fates Wars, um, in some way, Nicole's not in pleasing tones, in Southern sulking, uh, displeased, um, echos talks of a nameless team.It's so hard. Fine. Um, I did, could be so far to find that it cannot be named, or it is, uh, full of suggestive meaning. Uh, so the, the deed, the evil deed is, is kind of not very clear it's obscure. Um, so that deed is going to be, um, Told in these pages. So it's, it's immediately very, very, uh, a little rain it's attracting, it's attracting the reader.So that's how this novel open. So right at the beginning of this novel, the castle is politically and he really introduced. He really introduced the castle in itself becomes an object, which contains that story, which is to be told. And it is full of nameless, horror, horror that cannot be named or horror, which is not yet understood, but will be introduced pretty soon.Okay. I'm reminding you of some of the key points about this novel. It is set in France and Italy in the late 16th century. Um, which means it's, it's not in the here and now for actually of contemporary readers. It's it's in the past. And the main characters are Emily sent Auburn a beautiful and moral young woman who is persecuted by this willin Montani whose husband of Emily's aren't under whose care Emily is living. So of course, um, if you remember the previous lectures, you would know that Tony is violent, cruel, and lots of both Emily and, um, his wife, um, The aunt in the castle and he wants the property of his wife to be given to him. So those are the circumstances of this novel, which we should remember. So how does the castle look like it has two round towers and by the way, I'm quoting from the novel. So this is how the casting is. Describe the reader. It has to round Traveler's crown by overhanging terrorists, um, embedding, totaled, but instead of phallus now, Blum grass and wild plants that had taken root among the moldings stones, which seem to Sy as the baby. These rule passed over the desolation around them. So, if you look at this description, you immediately get the sense of the castle and ancient crumbling castle. Uh, it has those really scary stories. , um, uh, towers and targets, but instead of Bennys, which kind of advertise or tell the view with that, you know, uh, it is still a lot of sharing and how powerful. No, it's just that we have grass and wild plants. Why the plants, I'm not any kind of, um, creepo, which is beautiful. It has wild the plant. Um, and, and that is symbolic. The fact that these. Structures are overtaken by, uh, unsavory, um, you know, uh, unsavory figures who did not deserve to, uh, be, uh, ruling these castles. So the, those kinds of characters have become the Lords of these places. So that is kind of symbolically indicated through the reference to wild plants, which had taken root among the mortar and stone stones, which are kind of crumbling. Yeah, which is, which is not thriving, which is not polished. And in fact, the stones seem to Sy the structures themselves to kind of, um, be mourn the fact that they have come to this state of repair, moral and spiritual, um, you know, uh, Dismay, it's kind of, um, uh, uh, dismayed that you can sense from the stones, uh, about the fact that, um, these, uh, structures have fallen into bad times, um, because of these, um, wide Lords. And, and they seem to say as the big breeds roll plot, pass over the desolation around the S it's it's desolate, the atmospheres desolate. So, uh, it's not just physical daycare that you can sense the physical daycare of castles with its, um, moldering stones. And, um, you know, um, all of these wild plants overtaking lots of weeds. That's the idea of we should, we should have the weeds kind of ruining the good reputation. So that has happened in the case of the castle of adulthood. And the structure itself seems to be, um, you know, um, mourning. Be morning and morning over the state into which this causal has fallen and there's desolation everywhere, uh, around it. It's, it's not a landscape, which is thriving, which is kind of enjoying the bounty of nature. Quite the now let's talk about the energy of the castle. What kind of emotions do the causal evoke in the mind of the people passing through it. And in fact, the interior of Adolfo is a maze of dimly lit Cardo, us murky recess, and upscale stairways. This darkness only exacerbate. Yeah. Emily's condition for was gloom, completely baffled perception in such complete obscurity. The imagination is cut loose, all governing images more. Otherwise you can sense from this kind of person like Mary Poovey. That the Casa is creating a particular effect through its very presence on the market of the character. So let's first look at the characteristics of the castle, the interior of the cost of it's amazing. It's elaborate time. It's dimly lit. It's not well lit. It's darkness, semi darkness. And murky. It came very strange, slightly scary, um, skill passageways are there and the stairways, or also in obscurity, it's not well lit. So if the stairs are obscure, it causes extra dread and you climb up, you would like to get a sense of what's above you over a climb down. Uh, you would like to get a sense. Uh, of, uh, visibility of the things below you. And that is not the case with, uh, the interior of the castle of it awful. So the dim light causes havoc in the minds of the person who is passing through it and this kind of darkness, it kind of increases. It was since Emily's condition was already kind of slightly terrified slide about the castle four, it offers gloom, the bleakness, the darkness, it's kind of beyond any kind of proper perception, any kind of visibility. And in this kind of obscurity, the imagination of Emily runs, right. It's cut loose. She says. The imagination is not governed controlled manage, but any kind of reason or any kind of moral compass, any kind of moral guide, it seems to be cut off from it because the mind is flooded by all kinds of images and you cannot complete the call, those images moral. So that seems to be the impact of that. Cause that's the evil energy. If you want to put it that way, the dark energy, the negative energy of the cause of it seems to kind of rake up suppressed, repressed feelings, further on the Gothic energy of the castle. So what happens when you are inside such conditions in the causal of fiddle fall? The cop, the constant in itself, the passages, the nature of this dark interior space kind of becomes an aggressive force. So it seems to have a particular susceptibility that per walks from the person who was passing through it, the guest who was kind of walking, um, In the insights of the castle. So around state in guidance, it's innate susceptibility becomes an aggressive force rushing to fill the ward with its own projected images, creating in effect an external reality as it is in practice as the psyche itself. It's a wonderful piece of criticism because it's very suggestive in itself because, um, if you look at these. Uh, ideas. What is suggesting is that, you know, the very energy of the costal seems to create images, projected images, which become almost a reality. So the, the, the space seems to act with a life of its own. The space becomes a being of its own, and it's a very bizarre instead of images and that element of the bizarre that you see inside. The interiors of the console has a parallel in the interiors of the site key. So you can see that the, the kind of really potent for, so the castle becomes in its orchestration of these strange images. So just beyond the responsiveness of feeling Radcliffe wounds, um, their legs, this completely amoral uncontrollable force. The wild energy of passion, inflaming imagination, barring a Baron down the barriers of reason and living in a world of its own. So pulley argues the critic. Poovey argues that within the interiority of the castle, there is hidden this amoral force, which is uncontrollable. And that force is this wild energy of passion. And this passion does human passionate, or you can call it, the desire is kind of arousing the imagination and it is kind of suppressing bearing down, forcing down the barriers of reason, which we'll put in a blockage. In the mind of the person. So those barriers are being oppressed by this passion that you can find inside the castle. And in this passion has, has a life of its own, a space of its own. And that is the interiority of the cost of it. Also.

Video 2: Gothic Castle and Desire
Now we have quite clear, um, at this point, um, through the comments of the critic that the costal stents for a particular kind of. I feel like a particular kind of emotion. Cool. We called it the passion and Ratcliff calls it those wild energy and let's call it by its name. We just desire who he further goes on to argue that like many women novelists are this period. Ratcliffe is using the spectral arena of the Gothic castle to dramatize the eruption of psychic material ordinarily controlled by the inhibitions of society. So, uh, what she's trying to explain in this comment is that, um, rod please is staging those energies, those passions, which are controlled. So inhibitions, um, by the visual ESY society by civilized society. So what is being controlled and repressed and ordered. Yeah. And manage is erupting on the Coptic stage. Through the nature of the interiority of the castle. The physical interior is kind of home to the psychologic eruption of uncontrolled emotions. So poofy goes on to argue that it is revealing that Ratcliff explicitly links this energy with passion for Emily's response. Like those of her numerous sisters in that's what we now think of as the CSO of liberated desire and repression. So, uh, it, she's very, very clear, um, in, in this. Belief that Ratcliffe he's kind of referring to passion and the sexual passion through, uh, the word energy and, um, the, in the, in the, in the castle of, um, uh, in the mysteries of the, for, in the novel and within, uh, the Casa. So it just, this symbolic passionate, which is kind of coming to play through the. A representation of the special effects, the shadows of the dark. Yes. And the obscurity, the marquee recesses are representation, psychic representation of special representations of passion. And that the reference to the numerous sisters here is, is not a reference to the sisters, that real sisters, uh, in, in the. Fiction of the mysteries of Adolfo, it refers to got the key lions. Um, all of them seem to go through this kind of, um, experience. Yeah. And, and which is, which is a kind of a Seesaw this experience to see. So, because a desire becomes liberated in a way when they kind of go through, um, such murky interior spaces. Um, and they've repressed emotion seem to come to the surface, but then they, they, they kind of also, uh, at some point, this suppress such kind of liberated desire, so that Seesaw of emotions, desire and repression, uh, the, the tension between the two emotions, uh, come to full play in the setting of the class, got the castle. Fantastic, uh, comment, uh, a fantastic argument, uh, which kind of lays bare the intentions of the author Radcliffe. So there is a kind of a rasp relation between curiosity and fear. There is a vacillation between desire and repression. So that is, um, kind of. Illustrated through several incidents in the novel, the mysteries of Adolfo. So vacillating debating between curiosity and fear. Emily is bold enough to explore the castles. Yes. Recess. So she is courageous to kind of explore the passages and. This kind of critical commentary that we have seen from Mary Poovey tells us that this exploration is in itself an exploration of desire on the part of the Huron. So, um, on a larger scale, we can see her as symbolically breaking away from the repress regulations of the . I'd take how aware she is also constantly aware of her. Uh, Breakaway aware of her, um, you know, um, stepping the bounds of, um, the society. Therefore she quickly comes back to what is expected of her and that kind of coming back within the bounds of society is expressed physically through her fainting fits. So for example, when she imagines a cop's Clemson with human blood, she retreats from confrontation by fainting. She doesn't actually go and take a good look at it properly. Um, so she, she awards that kind of meeting. So when she does that, it becomes a kind of, uh, Bolick repression on her part, the fainting next, her, um, come within the rules and records agents of society. If you apply the critical commentary of Mary Poovey, that's the kind of interpretation you can. Oh, come to again. Once again, she tries breaking away. She boldly lifts the forbidding whale of an ominous painting, but false central senseless to the floor. Yeah. So she can identify its content. So this is this, um, grappling with curiosity and fear between passion and repression, um, within, um, between the rules set by society and have the desire to break from them. So the fact that the fainting fit of Emily's and Obert becomes symbolic of that caught between these two, uh, modes, these two, um, emotions with an adult for desire wrestles with red, even though the heroin is to this free to recognize the sexual component of her energy. So, um, we can obviously see that. There is a kind of a grappling with a fighting with fear. And the fear is a kind of, um, an expression sexuality, a fear it's a fear of sexuality, but she doesn't realize that Emily said Abra doesn't realize that what she is dreading is, um, you know, a sexual experience. So there are layers. The key point to understand here is that there are layers. So the fear, the Coptic fear in such narratives is it's a fear of physical harm. That's one, meaning the literal meaning, meaning that you can take at face value, a fear of assault, sexual assault, bodily assault. So that's one fear, but symbolically. When, when the Hey Ryan is curious as to the contents of got the cousin and tries to explore them, it becomes a sexual exploration and she doesn't kind of fully go through with her desire with her curiosity, she stops and fades, and that becomes a resistance, the repression on her part. What they also need to understand is that in the course of. Of it also, Emily said Ober is totally helpless. She's completely vulnerable because when Tony dictates her confinement and her isolation, so he is the Lord of that castle. He is the Lord of all the women who are, um, in that place. He literally Incarcerates his wife and, um, Emily, but the external tool learning is on the surface at least less oppressive than the terror generated by Emily's own undisciplined imagination. There is as time, nothing supernatural in Adolphus, winding corridors, evil agents, and Emily's over sensitive imagination. The pride of external guides also readily convert the unnatural into the supernatural. There's reckless fiscal week of sensibility focuses squarely on the imagination itself. Total lots of interesting points that are raised by this predict here. One of us thought. Yes. Yes, of course. Montani is terrible. He's a cruel. Yeah. And, um, and the women suffer under his hands. That's external Turney. The second point, uh, she wants us to remember is that there is an elephant kind of terror, which is greater than the external to Ronnie. Which is the tyranny that Emily imagines when she is caught in the insights of the classical. So dark Tara is brought upon herself, brought upon Emily by herself because of her undisciplined imagination, uncontrolled imagination, the imagination running riot, as I said earlier. So that is prompted by Emily's own sensibility. She has nobody to guide her. So everything dark and mysterious, everything unnatural being, being imprisoned in a closet. It's unnatural that everything unnatural has taken a supernatural over tomb in Emily's wild imagination. And as Poovey points out, she quickly turns everything unraveled into the supernatural. So what is being critiqued here is. Not just Mon Tony's cruelty and villainy. That is very, very transparent and everybody can easily condense. There's also a subtle kind of criticism ongoing, which is a criticism of Emily's boundless imagination, which is prompted by her sensibility. So sensibility is also critiqued and said it's ability is, is brought upon. By imagination. Imagination is also being critiqued. So this is what this critic Poovey brings to the fore or reading of other customers for dolphin. And it's a valid reading. Okay. Now let's look at the concept of time of the story we should remember, but the story is set around 1584 in the 16th century. Almost 210 years before the publication of the mysteries of the doleful broccoli. But we should also remember that in Gothic fiction, the past is almost atmospheric. It's an effect rather than a fact historical fact. So there is a kind of, uh, effect sought by frat cliff, right in her work, which she believes that she can get setting the story in this point of time. So time is crucial. Yeah. Um, in, in a larger sense, in a broader sense, rather than in a specific sense, I'll explain what I mean that short while this is what it is. The story contains discourses discourses reference to discussions of subjects, not pertaining to sex 18th century in which the story is sad. But the story's concerns are the concerns of late 18 hundreds, the period to which this novel, uh, in a literal sense, the period to which Ratcliffe belongs it's contemporary because its concerns are also cause this causes it all the contemporary suggest supplements. What does it mean for a landscape to be sublime? Sensibility, what a sensibility, how, how much, uh, sensibility should you possess? What's the right sensibility and tastes. What does good moral, artistic taste? In fact, a lot of discussion, uh, in the novel pertains to the idea of taste and, and, uh, Ober faults Emily's and Ober falls in love with violin code because she sees that he has similar taste in appreciating landscape. So all these are, um, some of the concerns, the central concerns of the novel and the characters drink coffee use Jenna Fox. In fact, nearly a century before either practice was introduced to Western Europe. So, um, drinking coffee, dinner folks were not done in that period largely, but it happens in the story. So you can see, but you can see that the effect of. Of the story being set in the 16th century is atmospheric. She wants to evoke the idea of ancient past shouldn't time. So we need to talk about temporality, the idea of time and sublimity do an 18th century reader, these crumbling old castles and the dusty apartments, which we can see in the castle of Adolfo. Uh, in the castle of Tony, these are used by Ratcliff to talk about a particular time in a larger, broader sense. And she believes that such crumbling, castles, evil ideas of the sublime, a particular sense of awe and dread up prompted by these images. So, what we really need to understand is that ancient time is referenced through these consults. The human life that is associated with the causal is also old. That's what we should really kind of understand as Emily got God case with awe upon the scene, an ancient seven to the costly appeared. So you can see the quotation, um, the words and devastation are from the text. The mysteries of it also. So the servant is, Oh, the ancient just as the causal is ancient. So what Radcliffe wants to impress upon us is that that's the past that you're reading. That's the past that you're looking at and the castle embodies the past it Southerns embodied that, and you do not belong to that past. You are in the present and there's a chasm between the two. There's a tension between the two. Thank you for watching. I continue in the next session.