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Tales of Mystery and Imagination

April 29, 2011 by Roy Johnson

short stories of Gothic horror and the macabre

Tales of Mystery and Imagination is the name often given to collections of Poe’s stories. Edgar Allan Poe is celebrated as the originator of several types of short story – the tale of Gothic horror, the science fiction story, the detective story, the tall tale, the puzzle, and the literary hoax. In fact he was preceded in some of these by E.T.A. Hoffmann, but his influence has been much more widespread, and interestingly, given this influence, he was the first well-known American author to earn his living through writing – though this did not prevent him dying in poverty and neglect (dressed in somebody else’s clothes).

Tales of Mystery and ImaginationHe often starts a story with a philosophic reflection, and the central purpose of the story is to illustrate the idea. But what makes them so striking and memorable is that the idea is both articulated via the narrator’s anguished state of mind and encapsulated in a vivid image – going down in a sinking ship; suffering torture in the Spanish Inquisition; a premature burial; and a heart which continues to beat even after a brutal murder. These are images of the Gothic that have kept the horror movie industry fuelled with content for almost the last hundred years.

Very little is overtly dramatized in Poe stories. Characters rarely engage in conversation. Everything is in the grip of a narrator who is normally relating events at emotional fever pitch. “I was sick – sick unto death … why will you say I am mad … tomorrow I die, and to-day I would unburthen my soul.” These are the voices of existential anxiety we have come to know via Dostoyevski, Nietzsche, and Kafka.

In his stories lots of things happen twice. A man is stranded on a doomed ship, which is struck by another bigger vessel and takes him into the Abyss. A man has a beautiful wife who falls ill and dies. When he remarries, his second wife goes the same way. Another man has a wife who dies giving birth to a girl – who becomes a replica of her mother, and dies the same way. The women in his stories do not last long. Even if they start out as beautiful young maidens, they tend to become sickly, they fade, they die, and are entombed. In one of his most famous doppelganger stories, the protagonist William Wilson is pursued throughout his debauched life by another man who looks exactly the same, and is also called William Wilson. You don’t need a brass plaque on your front door to realise that these are stories of split personality, of guilty conscience, of the duality of being.

Poe is perhaps most celebrated as the inventor of the detective story. In The Murders in the Rue Morgue his super-intellectual hero Auguste Dupin solves an almost impossibly difficult problem (murder in a locked room) by what appears to be a combination of acute observation and pure reason. He is presented with the same eyewitness accounts as the police, but outsmarts them by superior logic. (Actually, Poe cheats slightly by having Dupin locate extra clues).

But Poe is less interested in dramatizing the solution to a crime than exploring the misconceptions that make things seem mysterious or puzzling in the first place’. Dupin spends most of his time explaining why the Prefect of the Parisian police cannot solve crimes because his thinking is trammelled in convention. Despite all the improbabilities of the plot (windows with hidden spring catches, an Ourang-Utang with a cutthroat razor) the tale established a formula for the detective story which has survived to this day.

In terms of the Gothic tradition, Poe piles one effect upon another – entombment, necrophilia, ruined abbeys, murder, alcohol and drugs. Nothing is spared in his quest to express intensity of emotion and horror of effect. In one of the other famous pieces in this collection, ‘The Fall of the House of Usher’, Poe combines themes of incest, premature burial, and a decaying mansion that ends up split asunder and collapsing into its own moat. All the stories cry out for interpretation, and it is to his credit that despite what are often seen as moments of dubious excess (rotting corpses, a protagonist who extracts all his wife’s teeth before she is dead) they continue to yeild up meaning to a succession of readings even today – more than one hundred and fifty years after they were first written.

Tales of Mystery and Imagination Buy the book at Amazon UK

Tales of Mystery and Imagination Buy the book at Amazon US

© Roy Johnson 2011


Edgar Allan Poe, Selected Tales, Oxford: Oxford University Press, 2008, pp.338, ISBN: 0199535779


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Filed Under: 19C Horror, Short Stories, The Short Story Tagged With: Edgar Allan Poe, Gothic horror, Literary studies, The Short Story

The Picture of Dorian Gray

April 1, 2011 by Roy Johnson

tutorial, commentary, study resources, and web links

The Picture of Dorian Gray (1890) Oscar Wilde’s version of the Gothic horror story, has entered popular consciousness even amongst people who have not actually read the novel. His central image of a secret ‘portrait in the attic’ is frequently used as a metaphor in cases where people seem to be rather unnaturally preserving their youthful looks.

The Painting of Dorian Gray

The novel is also packed full of witty epigrams and paradoxes (usually expressed by the character Lord Henry Wotton) which Wilde re-used in the stage plays that made him famous. Within twelve months of publishing Dorian Gray he was at the height of his fame as a writer, a wit, and a dandy. And within another three years he was in jail – convicted of having commited acts of ‘gross indecency’ with other men in private – providing a wonderful example of the claim made in his essay The Decay of Lying (1891), that “Life imitates Art more than Art imitates Life”.

The Picture of Dorian Gray was first serialised in Lipincott’s Monthly Magazine (Philadelphia) starting in the issue for July 1990. But this version was Bowdlerised by the magazine editors without Wilde’s knowledge. He subsequently revised the text for its publication as a one-volume novel by Ward, Locke and Company in 1891.


The Picture of Dorian Gray – critical commentary

The Double

The Picture of Dorian GrayThe ‘double’ theme gets an interesting twist here. Instead of two human beings we have a human and a painting – a work of art. They start out looking identical. The portrait is an accurate record of Dorian’s beauty as an eighteen year old young man. But as time passes, Dorian remains the same, whilst the portrait ages and acts as a reflector of the sins that Dorian commits.

In most instances of the double, one character acts as the alter-ego of the other or commits acts on behalf of the other. But in Dorian’s case, he actually commits the acts himself, whilst the portrait internalises their effects. (It is also interesting that so few of his debaucheries are recorded.)

Structure

The narrative was first published in thirteen chapters as a serial in Lippincott’s monthly magazine, and later as twenty chapters in one volume. The additional matter for the first book publication does not add anything substantial.

The narrative essentially falls into two parts, with a two chapter bridge between them. Part one establishes Dorian’s desire for eternal youth, his relationship with Sibyl which turns out badly, the mysterious changes to the portrait, and his decision to lock it away in the attic.

The bridging section in which almost twenty years pass is filled with an account of Dorian’s cultural tastes for decadent writers and his passion for collecting ornate embroidery and obscure musical instruments. During this period he establishes a social reputation for debauchery.

Part three deals with his downfall. First he commits murder, blackmails his friend, and then is pursued by Sibyl Vane’s brother – but appears to escape justice. But suffering both from a sense of guilt and horror at what his life has become, he decides to rid himself of the the thing that acts as a constant reminder – the portrait.

The title

It is interesting to note that whilst the title of the novel is The Picture of Dorian Gray, it is almost universally referred to amongst the general public as The Portrait of Dorian Gray – and with some justification. Because the painting is a portrait. The term picture is more ambiguous: it could mean ‘the impression created by Dorian Gray’ or ‘the picture owned by Dorian Gray’. Whereas the whole shocking effect of the story is that the portrait ages horribly in the attic whilst Dorian in person retains his youthful good looks.


The Picture of Dorian Gray – study resources

The Picture of Dorian Gray The Picture of Dorian Gray – Oxford World Classics – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – Oxford World Classics – Amazon US

The Picture of Dorian Gray The Picture of Dorian Gray – Wordsworth Classics – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – Wordsworth Classics – Amazon US

The Picture of Dorian Gray The Picture of Dorian Gray – Penguin CLassics – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – Penguin CLassics – Amazon US

The Picture of Dorian Gray The Picture of Dorian Gray – York Notes (study aids) – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – Norton Critical edition – Amazon US

The Picture of Dorian Gray The Picture of Dorian Gray – Cliffs Notes (study aids) – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – BBC full-cast 2CD audio – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – BBC unabridged audio book – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – eBook versions at Gutenberg

The Picture of Dorian Gray The Picture of Dorian Gray – 2009 DVD film (Colin Firth) – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – BBC Oscar Wilde 3 DVDs – Amazon UK

The Picture of Dorian Gray The Picture of Dorian Gray – 1945 DVD (George Sanders) – Amazon UK


The Picture of Dorian Gray – plot summary

Lord Henry Wotton meets Dorian Gray in Basil Hallward’s studio where he is having his portrait painted. He is struck by Dorian’s youthful beauty, and preaches to him a philosophy of self-realisation (and self-indulgence) before Time ages him and his appetites wane. Dorian takes up these ideas enthusiastically, and wishes to remain as youthful as he appears in the very successful portrait, which he is given as a gift.

As a result of his desire to live life more fully, Dorian meets and falls in love with Sibyl Vane, a young actress. Her mother encourages the connection, but her brother is jealous of Sibyl’s reputation and suspicious of Dorian’s motives, because he comes from the upper class. However, it is revealed that Sibyl’s father was ‘a gentleman’.

Dorian wishes to show off Sibyl to his friends, but when they visit the theatre her acting is disastrously bad. She now believes that love for Dorian is her true vocation in life. Dorian feels humiliated by the episode and brusquely rejects her. He returns home to find that his portrait has changed for the worse.

Next day Lord Henry reports that Sibyl has committed suicide, and persuades Dorian that he can not be considered responsible for her death. Dorian hides the portrait in his attic and will not let Basil see his own work, knowing that the portrait will age whilst he continues to look young.

Dorian gives himself up to a life of self-gratification and debauchery, based on his reading of the Decadent writers and Lord Henry’s philosophies. As the years go by he develops a scandalous reputation, whilst retaining his youthful looks. His friend Basil implores him to reform before it is too late – whereupon Dorian confronts him with the portrait, then kills him.

Dorian then blackmails an old college friend Alan Campbell to dispose of the evidence, which is successful. He feels free of any suspicion, until James Vane re-appears and threatens to kill him because of Sibyl’s death. Vane pursues Dorian to his country estate, but he is shot by accident during a hunting party.

It is then revealed that Campbell has committed suicide – presumably to avoid some sort of scandal. Dorian feels relieved that he has completely escaped detection, and although other people’s lives have been ruined, he is glad to look as youthful as ever.

Nevertheless he feels oppressed by feelings of guilt and wishes to reform. Feeling that the portrait has somehow cheated or deceived him, he resolves to destroy it – but destroys himself instead. In the final scene the painting has become young again, whilst Dorian is dead with a knife in his heart – a wrinkled, withered, and age-ravaged old man.


Oscar Wilde pencil

Mont Blanc – special Oscar Wilde edition


Principal characters
Lord Henry Wotton aesthete and wit
Basil Hallward painter
Dorian Gray wealthy and good-looking young man
Lady Agatha Lord Henry’s aunt
Lord George Fermor Lord Henry’s uncle
Margaret Devereux Dorian Gray’s attractive mother
Victoria Lord Henry’s wife
Sibyl Vane a young actress
Mr Isaacs Jewish impressario
James Vane Sibyl’s younger brother
Lord Radley Dorian Gray’s guardian
Lady Gwendolen Lord Henry’s sister
Victor Dorian Gray’s servant
Mrs Leaf Dorian Gray’s housekeeper
Alan Campbell chemist friend of Dorian’s
Lady Narborough society hostess

Film version

1976 TV version – Jeremy Brett and Sir John Gielgud


Further reading

Karl Beckson (ed), Oscar Wilde: The Critical Heritage, London: Routledge and Keegan Paul, 1970.

Richard Ellman, Oscar Wilde, London: Hamish Hamilton, 1987.

Regina Gagnier (ed), Collected Essays on Oscar Wilde, New York: G.K.Hall, 1971.

H. Montgomery Hyde, The Trials of Oscar Wilde, New York: Dover, 1973

Neil McKenna, The Secret Life of Oscar Wilde, London: Century, 2003.

Peter Raby, The Cambridge Companion to Oscar Wilde, Cambridge: Cambridge University Press, 1997.

Eve Kosofsky Sedgwick, Epistomology of the Closet, Berkeley and Los Angeles: University of Los Angeles Press, 1990.

John Sloan, Oscar Wilde, Oxford: Oxford University Press, 2003.


Film version

1945 Original movie trailer – George Sanders

© Roy Johnson 2011


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Filed Under: 19C Horror Tagged With: 19C Literature, Gothic horror, Oscar Wilde, The novel

The Sandman

October 4, 2017 by Roy Johnson

tutorial, study guide, web links, and further reading

The Sandman was first published in 1817 as one of the stories in a collection called Die Nachtstucke (The Night Pieces) by E.T.A. Hoffmann. He was a German writer who formed an important link between Romanticism and the Gothic fiction of the later nineteenth century. His novel The Nutcracker and the Mouse was the basis for Tchaikovsky’s ballet The Nutcracker, and two of his other stories were turned into the ballet Coppelia.

The Sandman


The Sandman – commentary

The horror story

The Sandman was written in 1815 and has become famous as an early nineteenth-century horror story – for a number of reasons. First it is an excellent, if sometimes rather puzzling story in its own right. Second, it was used as the basis for a popular opera by the Jaques Offenbach in 1861 and then turned into an English ballet filmed by Michael Powell in 1951. Third, it was the subject of an essay written by Sigmund Freud in 1919 called The Uncanny in which he offers an interpretation of the story in psycho-analytic terms. This has become celebrated as an explanation of horror stories and their attractions.

The principal element of the story that has attracted most attention is that of a human being who falls in love with a work of art – in this case a mannequin or mechanical doll. This is a story which goes back as far as Greek mythology. In Ovid’s Metamorphoses Pygmalion was a sculptor who fell in love with the statue of a beautiful woman (Galatea) that he had carved. This idea has been the basis of stories, poems, stage plays, paintings, operas, and ballets – as the Wikipedia entry demonstrates.

However, this is only one element of The Sandman, and as you will see from the interpretation that follows, not its most important part. Olimpia the mechanical doll is an attractive feature of the story, but its deepest meanings are centred in the psychology of the protagonist, Nathaniel.


The Sandman

Pygmalion and Galatea


The narrative

There is an interesting anomaly in Hoffman’s approach to the form of this narrative. The story begins as the exchange of three letters. The principal character Nathaniel writes to his friend Lothar describing the childhood origins of his fears and the menacing figures of Coppelius and Coppola (the Sandman). But he mistakenly mails the letter to his sweetheart Clara, who is Lothar’s sister. She replies suggesting that the evil figure Nathaniel sees in Coppelius is largely imaginary – a figment of his imagination. Nathaniel then reports to Lothar that he has taken up studies with Spalanzani, who has a very attractive daughter, Olimpia. Following this introduction the story reverts to a traditional third-person narrative mode.

The interpretation

The story lends itself to a variety of interpretations. In his essay discussing the story, The Uncanny, Sigmund Freud has no hesitation in equating the Sandman’s threats to tear out Nathaniel’s eyes with an unconscious fear of castration. Freud also assumes that the source of this threat will be Nathaniel’s father. And it is true that the father and Coppelius not only act in unison, but are fused in Nathaniel’s mind.

When Nathaniel feels he is being threatened by the two men (both dressed in long black smocks) his father “looked like Coppelius”. And even though the father is horribly disfigured as a result of the household explosion, he returns to his normally serene appearance in his coffin: “his features were once again as mild and gentle as they had been during his life”. There is therefore a strong case to be made for a psychological transference between the father and Coppelius as castration threats on Nathaniel’s part.

But this explanation seems to leave a number of important questions unanswered. For instance, why does Nathaniel fall in love with an automaton? And why does he end up killing himself? These questions are answerable with a slightly more nuanced, though still psycho-analytic interpretation.

This approach sees Nathaniel as in fear of female sexuality. He claims to be in love with Clara, but when she moves to live in his father’s house, he has the most serious attack of subliminal fear centred on the figure of the Sandman. Moreover, Clara is not particularly attractive, and he finds her cold and unresponsive. In fact he is attracted to women who are impassive.

This explains the curious detail of Nathaniel mailing the first letter by ‘mistake’ to Clara instead of Lothar. Nathaniel is not aware that the figure of Coppelius (later Coppola) is a metaphor of his sexual fears. He thinks of him merely as an ugly and menacing figure who is threatening to put hot coals in his eyes. But at an unconscious level Nathaniel wishes to avoid the sexual intimacy that marriage to Clara would involve. So he gives a full account of the origins of his psychological problem and mails it to the person for whom it has the greatest relevance – Clara, the woman he fears he is expected to marry.

The poem he writes about their marriage reveals his secret fears – that the event will be to him a form of death. This is in fact the second ‘warning’ he conveys to her. She dismisses the poem out of hand, offering him a perfectly reasonable explanation for his fears – telling him they lie within himself (which is true). But he rejects her suggestions. In fact he rejects them twice – just as he twice selects a cold and unresponsive female as the object of his love.

The second instance of his choosing is even more intractably unresponsive, since she is in fact an automated doll. Nathaniel also falls in love with Olimpia by viewing her through a pocket telescope – a device guaranteed to keep him at a distance from the object of his affection and the source of his secret fears.

Nevertheless, Nathaniel actually decides he wants to marry Olimpia, but when he approaches her, wedding ring at the ready, he collapses into another nervous fit, apparently brought on by the appearance of the evil Coppelius, the embodiment of his fear of female sexuality. But his fainting fit is his unconscious (but well-conceived) avoidance strategy for what he fears most – sexual intimacy.

Having recovered from his indisposition a second time, he is presented via an inheritance with a ready-made family home and estate. All he needs to do is marry Clara, who is still reassuring him. He takes her up the town hall tower to look into their future – the countryside, where their home is located.

At this very moment it looks as if his fate is sealed: he cannot escape matrimony and its sexual implications. So he conjures up the vision of Coppelius again (using the pocket telescope he has bought from him). Anyone sceptical about this interpretation should observe carefully what happens next.

Nathaniel sees Woman and Marriage as a threat – so his first impulse is to remove the cause of this existential fear. He tries to throw Clara off the tower into the market square below. But this manoeuvre is thwarted by the arrival of Clara’s brother Lothar, who eventually saves her.

It should be noted however, that Nathaniel whilst climbing the tower has locked behind him not just one but two doors leading to the parapet. This suggests rather strongly that he has gone up the tower with some sort of pre-meditated evil intention.

Having failed to remove the source of the threat by killing Clara, he then takes the only alternative open to him – he removes himself from the threat by plunging to his death below.

As if to underscore this interpretation of events, the story concludes some years later with a pastoral idyll in which Clara is happily married to a handsome young man with whom she has two young children. This is the very scenario which embodies all Nathaniel’s poorly suppressed fears. So the story is not about a man who falls in love with a mechanical doll, but a parable of the fear of domestic intimacy and the socio-psychological price that must be paid to enjoy it.


The Sandman – study resources

The Sandman The Sandman – Oxford Classics – Amazon UK

The Sandman The Sandman – Oxford Classics – Amazon US

The Sandman Tales of Hoffmann – Penguin Classics – Amazon UK

The Sandman Tales of Hoffmann – Penguin Classics – Amazon US

The Sandman Freud: The Uncanny – Penguin Classics – Amazon UK

The Sandman Freud: The Uncanny – Penguin Classics – Amazon US


The Sandman


The Sandman – story synopsis

Nathaniel writes from university to his friend Lothar after a disturbing incident involving someone he recognises from the past. He recalls childhood memories of being sent to bed early with the threat that ‘the Sandman is coming’. He is told that the Sandman throws sand into children’s eyes, which jump out of their heads and are fed to his own offspring, who have hooked beaks like owls which they use to pluck out the eyes of naughty children.

Nathaniel’s mother tried to reassure him that there was no such person as the Sandman, but the image remained alive in Nathaniel’s mind. He heard the Sandman climbing the stairs to visit his father, and one night hid in the room to confirm his fears. The Sandman turned out to be a hideous lawyer Coppelius who threatened to put burning coals into Nathaniel’s eyes. His father pleaded for mercy, and Nathaniel fell into a swoon. Coppelius disappeared from the town.

A year later Coppelius reappeared for what Nathaniel’s father said would be the last time. That night the father was killed in an explosion, and Coppelius again disappeared

Nathaniel mistakenly posts his letter to Clara, Lothar’s sister. Clara in her letter of reply suggests that Nathaniel’s continuing fears are imaginary. She argues that Evil lies within the Self, and it is in Nathaniel’s own power to shake off the Sandman’s pernicious influence.

Nathaniel replies to Lothar rejecting Clara’s advice. He reports on a new enthusiasm for Professor Spalanzani and his beautiful daughter Olimpia.

An outer narrator then takes over the narrative, describing the difficulties of representing uncanny experiences. The story backtracks to describe Clara and her brother Lothar moving to live in Nathaniel’s family home. Nathaniel is engaged to marry Clara, but he leaves to study at the city of G***. When he returns home, Clara continues to argue that Nathaniel can overcome the malign influence within himself. He is irritated by her coldness and unresponsiveness.

Nathaniel writes a dramatic poem describing his wedding to Clara and Coppelius’s disruption of it that reveals Clara to him as an image of death. Nathaniel reads the poem to her: she tells him to throw it in the fire. They quarrel; Lothar rebukes him; but all three are eventually reconciled.

On his return to G*** Nathaniel lives opposite Spalanzani and his statuesque daughter Olimpia. Nathaniel is visited by Coppola, who tries to sell him spectacles. Nathaniel buys a telescope from him instead. When Spalanzani gives a ball. Nathaniel dances with Olimpia and makes overtures of love to her, oblivious to everyone else’s amusement.

Following this he reads his poetry to her and eventually decides to marry her. But when he arrives at her house with a wedding ring, Coppelius is arguing with Spalanzani over possession of Olimpia, who is revealed as a mechanical automaton. Nathaniel goes mad with fury and is taken off to a lunatic asylum.

Nathaniel awakes from a dangerous illness in his father’s house where he is being tended by Clara. The family unexpectedly inherit an estate from a distant relative. Clara and Nathaniel climb the tower of the town hall to view the countryside. Nathaniel finds the telescope in his pocket and immediately tries to throw Clara off the tower. She is saved by Lothar, but Nathaniel sees Coppelius in the crowd below and throws himself off the tower to his death. Some years later Clara is happily married with two small children.

© Roy Johnson 2017


More 19C Authors
More on literature
More on the novella
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Filed Under: 19C Horror Tagged With: E.T.A. Hoffmann, Gothic horror, Literary studies, The Short Story

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