Gothic Novels - Elements of Gothic Fiction - The Female Gothic and The Supernatural Explained

The Female Gothic and The Supernatural Explained

Characterized by its castles, dungeons, gloomy forests and hidden passages, from the Gothic novel genre emerged the Female Gothic. Guided by the works of authors such as Ann Radcliffe, Mary Shelley and Charlotte Brontë, the Female Gothic permitted the introduction of feminine societal and sexual desires into Gothic texts. The Medieval society, in which Gothic texts are based, granted women writers the opportunity to attribute “features of the mode as the result of the suppression of female sexuality, or else as a challenge to the gender hierarchy and values of a male-dominated culture”.

Significantly, with the development of the Female Gothic came the literary technique of explaining the supernatural. The Supernatural Explained – as this technique was aptly named – is a recurring plot device in Radcliffe’s The Romance of the Forest. The novel, published in 1791, is among Radcliffe’s earlier works. The novel sets up suspense for horrific events, which all have natural explanations.

An eighteenth-century response to the novel from the Monthly Review reads: “We must hear no more of enchanted forests and castles, giants, dragons, walls of fire and other ‘monstrous and prodigious things;’ – yet still forests and castles remain, and it is still within the province of fiction, without overstepping the limits of nature, to make use of them for the purpose of creating surprise.”

Radcliffe’s use of Supernatural Explained is characteristic of the Gothic author. The female protagonists pursued in these texts are often caught in an unfamiliar and terrifying landscape, delivering higher degrees of horror. The end result, however, is the explained supernatural, rather than terrors familiar to women, such as rape, incest, ghosts or haunted castles.

In Radcliffe’s The Romance of the Forest, one may follow the female protagonist, Adeline, through the forest, hidden passages and abbey dungeons, “without exclaiming, ‘How these antique towers and vacant courts/ chill the suspended soul, till expectation wears the cast of fear!”

The decision of Female Gothic writers to supplement true supernatural horrors with explained cause and effect transforms romantic plots and Gothic tales into common life and writing. Rather than establish the romantic plot in impossible events Radcliffe strays away from writing “merely fables, which no stretch of fancy could realize.”

English scholar Chloe Chard’s published introduction to The Romance of the Forest refers to the “promised effect of terror”. The outcome, however, “may prove less horrific than the novel has originally suggested”. Radcliffe sets up suspense throughout the course of the novel, insinuating a supernatural or superstitious cause to the mysterious and horrific occurrences of the plot. However, the suspense is relieved with the Supernatural Explained.

For example, Adeline is reading the illegible manuscripts she found in her bedchamber’s secret passage in the abbey when she hears a chilling noise from beyond her doorway. She goes to sleep unsettled, only to awake and learn that what she assumed to be haunting spirits were actually the domestic voices of the servant, Peter. La Motte, her caretaker in the abbey, recognizes the heights to which her imagination reached after reading the autobiographical manuscripts of a past murdered man in the abbey.

“‘I do not wonder, that after you had suffered its terrors to impress your imagination, you fancied you saw specters, and heard wondrous noises.’ La Motte said.

‘God bless you! Ma’amselle,’ said Peter.

‘I’m sorry I frightened you so last night.’

‘Frightened me,’ said Adeline; ‘how was you concerned in that?’

He then informed her, that when he thought Monsieur and Madame La Motte were asleep, he had stolen to her chamber door... that he had called several times as loudly as he dared, but receiving no answer, he believed she was asleep... This account of the voice she had heard relieved Adeline’s spirits; she was even surprised she did not know it, till remembering the perturbation of her mind for some time preceding, this surprise disappeared.”

While Adeline is alone in her characteristically Gothic chamber, she detects something supernatural, or mysterious about the setting. However, the “actual sounds that she hears are accounted for by the efforts of the faithful servant to communicate with her, there is still a hint of supernatural in her dream, inspired, it would be seem, by the fact that she is on the spot of her father’s murder and that his unburied skeleton is concealed in the room next hers”.

The supernatural here is indefinitely explained, but what remains is the “tendency in the human mind to reach out beyond the tangible and the visible; and it is in depicting this mood of vague and half-defined emotion that Mrs. Radcliffe excels”.

Transmuting the Gothic novel into a comprehendible tale for the imaginative eighteenth-century woman was useful for the Female Gothic writers of the time. Novels were an experience for these women who had no outlet for a thrilling excursion. Sexual encounters and superstitious fantasies were idle elements of the imagination. However, the use of Female Gothic and Supernatural Explained, are a “good example of how the formula changes to suit the interests and needs of its current readers”.

In many respects, the novel’s “current reader” of the time was the woman who “lay down her book with affected indifference, or momentary shame,” according to Jane Austen, author of Northanger Abbey. The Gothic novel shaped its form for female readers to “turn to Gothic romances to find support for their own mixed feelings”.

Following the characteristic Gothic Bildungsroman-like plot sequence, the Female Gothic allowed its readers to graduate from “adolescence to maturity,” in the face of the realized impossibilities of the supernatural. As female protagonists in novels like Adeline in The Romance of the Forest learn that their superstitious fantasies and terrors are replaced with natural cause and reasonable doubt, the reader may understand the true position of the heroine in the novel:

“The heroine possesses the romantic temperament that perceives strangeness where others see none. Her sensibility, therefore, prevents her from knowing that her true plight is her condition, the disability of being female.”

Another text in which the heroine of the Gothic Novel encounters the Supernatural Explained is The Castle of Wolfenbach (1793) by Gothic author Eliza Parsons. This Female Gothic text by Parsons is listed as one of Catherine Morland's Gothic texts in Austen's Northanger Abbey. The heroine in The Castle of Wolfenbach, Matilda, seeks refuge after overhearing a conversation in which her Uncle Weimar speaks of plans to rape her. Matilda finds asylum in the Castle of Wolfenbach: a castle inhabited by old married caretakers who claim that the second floor is haunted. Matilda, being the courageous heroine, decides to explore the mysterious wing of the Castle.

Bertha, wife of Joseph, (caretakers of the castle) tells Matilda of the "other wing": "Now for goodness sake, dear madam, don't go no farther, for as sure as you are alive, here the ghosts live, for Joseph says he often sees lights and hears strange things."

However, as Matilda ventures through the castle, she finds that the wing is not haunted by ghosts and rattling chains, but rather, the Countess of Wolfenbach. The supernatural is explained, in this case, ten pages into the novel, and the natural cause of the superstitious noises is a Countess in distress. Characteristic of the Female Gothic, the natural cause of terror is not the supernatural, but rather female disability and societal horrors: rape, incest and the threatening control of the male antagonist.