The Supernatural in Modern English FictionScarborough, Dorothy
History
The Supernatural in Modern English Fiction
Scarborough, Dorothy
English fiction -- History and criticism; Supernatural in literature
=Aids to Gothic Effect.= Certain themes appear recurringly as first
aids to terror fiction. Some of them are found equally in later
literature while others belong more particularly to the Gothic. An
interesting aspect of the supernatural visitants is gigantism, or
the superhuman size which they assume. In _The Castle of Otranto_,
the sensational ghost is of enormous size, and his accouterments are
colossal. In the last scene he is astounding:
A clap of thunder shook the castle to its foundations; the earth
rocked and the clank of more than mortal armor was heard behind....
The walls of the castle behind Manfred were thrown down with a
mighty force, and the form of Alfonso, dilated to an immense
magnitude, appeared in the center of the ruins. "Behold the true
heir of Alfonso!" said the vision.
This reminds one of an incident in F. Marion Crawford's _Mr. Isaacs_,
where the Indian magician expands to awful size, miraculously draws
down a mist and wraps it round him as a cloak. Zofloya is frequently
spoken of as immense, and it is said that "common objects seem to
sink in his presence." In the last scene the wicked Victoria sees
the Moor change from a handsome youth to a fierce gigantic figure. A
diabolic apparition eight or nine feet high pursues a monk,[27] and the
knight[28] engages in combat with a dæmonic giant who slays him. The
devil in _The Monk_ is represented as being of enormous stature, and
much of the horror excited by the man-monster that Frankenstein created
arises from the creature's superhuman size. In most cases gigantism
connotes evil power and rouses a supernatural awe in the beholder. The
giant is an Oriental figure and appears in _Vathek_, along with genii,
dwarfs, and kindred personages, but the Gothic giant has more diabolism
than the mere Oriental original. He seems to fade out from fiction,
appearing only occasionally in later stories, while he has practically
no place in the drama, owing doubtless to the difficulties of stage
presentation.
[27] In _The Spirit of the Castle_.
[28] In _The Spirit of Turrettville_.
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