The black veil constitutes a favorite method of suspense with Mrs. Radcliffe. On various occasions Emily pales and quivers before a dark velvet pall uncannily swaying in the midnight wind, and on one such ramble she draws aside the curtain and finds a hideous corpse, putrid and dropping to decay, lying on a couch behind the pall. Many chapters further on she learns that this is a wax figure made to serve as penance for an ancient sinner. Again she shivers in front of the inky curtain, watching its fold move unaccountably, when a repulsive face peers out at her. She shrieks and flees, thinking she has seen a ghost, but discovers later that it is only one of a company of bandits that have taken up their secret abode in the house. Black veils are in fashion in all of Mrs. Radcliffe’s romances and she drapes them very effectively, while the arras waves likewise in other tales as well.
Mysterious manuscripts are another means of mystification. Mrs. Radcliffe’s novels also abound in such scripts. In The Romance of the Forest Adeline discovers a decaying paper which reads, “Oh, ye, whoever ye are, that chance or misfortune may direct to this spot, to you I speak, to you reveal the story of my wrongs and ask you to avenge them.” This injunction to avenge wrongs is a frequent assignment, though rather much to ask in most cases. The Spirit of the Castle has its dusty document that starts off: “Already my hand brandishes the dagger that shall close my eyes forever. (Mysterious manuscripts are not strong on grammar and make slight attempt to avoid mixed figures.) I will expire by the side of the clay-cold corpse of my Antoinette.” In St. Oswyth the paper says, “Beneath the deep foundations of the ruin the recorded mystery of the house of Oswyth lies buried from all mortal discovery.” But the most impressive manuscript is the one in Melmoth that records the wanderings of the agonized fate-harried man and those whose tortures he witnesses. A codicil to the old uncle’s will advises his nephew against reading the document, but of course he does read it, since what are mouldy manuscripts in Gothic novels for, but to be deciphered by the hero or heroine?
Reference to dread secrets occur otherwise than in written form. In one favored tale,[33] we are told of “a mystery whose elucidation I now have a presentiment would fill me with horror!” In another,[34] Vincent on his death-bed speaks of “a horrid secret which labors at my breast,” and the Abate speaks to the marquis of “a secret which shall make your blood run cold!” In St. Oswyth we hear that “an impenetrable cloud of cureless sorrow hung over Sir Alfred and there was a dreadful mystery in his life destiny, unknown, as it should seem, to any one, and which he was unwilling should be questioned.” The dungeoned prisoner in Bungay Castle cries, “Were I at liberty to speak I could a tale unfold would tempt you to curse the world and even detest those claims which bind man to man. You would be ready to forego the ties of nature and shun society. Time must, it will develop the whole of this mystery!” And so on.
Inexplicable music forms one of the commonest elements of mystification in these romances. Its constant recurrence suggests that there must have been victrolas in medieval times. The music is chiefly instrumental, sometimes on a harp, sometimes on a violin, though occasionally it is vocal. Mrs. Radcliffe and Regina Maria Roche accompany the heroine’s musings at all hours with doleful strains suspected to be of supernatural performance. The appearance of the devil masquerading as the Moor[35] is heralded by flute-like sounds, and in The Spirit of Turrettville the specter plays on the harp and sings. The recurrence of the theme is so constant that it acquires the monotony of a tantalizing refrain.
Groans and wails of unexplained origin also aid in building up suspense. In fact, a chorus of lugubriousness arises so that the Gothic pages groan as they are turned. Mysterious disappearances likewise increase the tension. Lights appear and vanish with alarming volition, doors open and close with no visible human assistance, and various other supernatural phenomena aid in Gothic mystery and mystification.
Although the ghosts and devils occupy the center of interest in the horrific romance, the human characters must not be lightly passed over. There are terror temperaments as well as Gothic castles, tempests, and scenes. The interfering father or other relative, brutal in threats and breathing forth slaughter, comes in frequently to oppress the hero or heroine into a loathed marriage. The hero is of Radcliffian gloom, a person of vague past and saturnine temper, admired and imitated by Byron. Sir Walter Raleigh,[36] says, “The man that Byron tried to be was the invention of Mrs. Radcliffe.” The officials of the Inquisition and the dominant figures in convents and monasteries show fiendish cruelty toward helpless inmates, gloating in Gothic diabolism over their tortures. There are no restful human shades of gray, only unrelieved black and white characters. The Romantic heroine is a peculiar creature, much given to swooning and weeping, yet always impeccably clad in no matter what nocturnal emergency she is surprised. She tumbles into verse and sketching on slight provocation, but her worst vice is that of curiosity. In her search for supernatural horrors she wanders at midnight through apartments where she does not belong, breaks open boxes, desks, and secret hiding-places to read whatever letters or manuscripts she can lay her hands on, behaving generally like the yellow journalist of fiction.
The pages of the Gothic novel are smeared with gore and turn with ghostly flutter. The conversation is like nothing on land or sea or in the waters under the earth, for the tadpoles talk like Johnsonian whales and the reader grows restless under Godwinistic disquisitions. The authors are almost totally lacking in a sense of humor, yet the Gothic novel, taken as a whole, is one of the best specimens of unconscious humor known to English literature.
Conclusion.
Perhaps the most valuable contribution that the Gothic school made to English literature is Jane Austen’s inimitable satire of it, Northanger Abbey. Though written as her first novel and sold in 1797, it did not appear till after her death, in 1818. Its purpose is to ridicule the Romanticists and the book in itself would justify the terroristic school, but she was ahead of her times, so the editor feared to publish it. In the meantime she wrote her other satires on society and won immortality for her work which might never have been begun save for her satiety of medieval romances. The title of the story itself is imitative, and the well-known materials are all present, yet how differently employed! The setting is a Gothic abbey tempered to modern comfort; the interfering father is not vicious, merely ill-natured; the pursuing, repulsive lover is not a villain, only a silly bore. The heroine has no beauty, nor does she topple into sonnets nor snatch a pencil to sketch the scene, for we are told that she has no accomplishments. Yet she goes through palpitating adventures mostly modelled on Mrs. Radcliffe’s incidents. She is hampered in not being supplied with a lover who is the unrecognized heir to vast estates, since all the young men in the county are properly provided with parents.