Gothic literature – style and language
The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
Gothic narratives
The word ‘narrative’ means a ‘spoken or written account of connected events’, in other
words – a story. It can also be used to describe the way in which the story is told.
In Gothic fiction, often writers make use of multiple narratives – meaning that more
than one viewpoint is used to develop the storyline. This can be useful as we can get
different perspectives on characters and events. These perspectives can make us question
characters rather than see them only in one way and this adds to the mystery and intrigue
that is a significant part of Gothic fiction.
Task 1: Read through the definitions below and highlight key ideas.
Narrative Perspectives
First person (I) - is where the 'voice' telling the story uses the word 'I' and
therefore is often written from a characters’ perspective rather than someone
outside the story. This can allow readers to feel close to the narrator – believing we
are listening to their innermost thoughts.
Second person narrative (you) - is where the narrator refers to 'you' and talks
directly to the reader. This is rarely used in fiction (and is often found more in nonfiction persuasive texts). Sometimes writers use it briefly rather than all the time,
and when used it can add to our feeling part of the novel – as if we are in on any
secrets. This can sometimes make us feel some responsibility too.
Third person narrative (he, she, they or it) - where the author narrates the
story using 'he', 'she', 'they' or 'it'. A voice refers to people, events and situations
which they are detached from. Sometimes these narrators are quite powerful – they
can see everything that takes place and have access to everything happening. They
can provide insight into more than one character. When this is the case, they can be
described as an omniscient (all-knowing) narrator.
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Gothic literature – style and language
The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
Task 2: Read through the language features and definitions below then match them up.
You may want to do this in pencil first! These key descriptive features are often used
within Gothic texts.
Alliteration
Something inanimate (non-human) is given human
features e.g. ‘The windows winked at the street.’
Short
sentences
Exaggerating language for effect (often to suggest emotion)
e.g. ‘Her heart felt like it was about to burst from her
chest.’
Evocative
verbs
One thing is described as another in order to suggest
similarity without the use of ‘like’ or ‘as’ e.g. ‘The silver ball
in the sky.’
Pathetic fallacy
Verbs which are well-chosen to have an impact on the
mood or atmosphere e.g. ‘crept’, ‘captured’, ‘vanquished’.
Simile
The weather is used to reflect the mood of the situation or
characters e.g. rain to suggest sadness or depression.
Metaphor
Appealing to
the senses
Often used to create pace, e.g. ‘The door slammed’.
Two things are compared through linking words such as
‘like’ or ‘as’ e.g. ‘The moon was like a silver ball in the sky.’
Hyperbolic
language
The use of sound, taste, touch, sight or smell to bring a
situation to life for readers.
Personification
Two or more words begin with the same letter or sound
close to one another e.g. ‘The bright, beautiful and busy
city.’
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Gothic literature – style and language
The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
Task 3: Now, read the example below, taken from Bram Stoker’s Dracula. Annotate the
extract, identifying Gothic features in one colour and Gothic/descriptive language in
another.
I began to rub my eyes and pinch myself to see if I were awake. It all seemed
like a horrible nightmare to me, and I expected that I should suddenly awake,
and find myself at home, with the dawn struggling in through the windows, as I
had now and again felt in the morning after a day of overwork. But my flesh
answered the pinching test, and my eyes were not to be deceived. I was indeed
awake and among the Carpathians. All I could do now was to be patient, and to
wait the coming of morning.
Just as I had come to this conclusion I heard a heavy step approaching behind
the great door, and saw through the chinks the gleam of a coming light. Then
there was the sound of rattling chains and the clanking of massive bolts drawn
back. A key was turned with the loud grating noise of long disuse, and the great
door swung back.
Within, stood a tall old man, clean shaven save for a long white moustache, and
clad in black from head to foot, without a single speck of colour about him
anywhere. He held in his hand an antique silver lamp, in which the flame
burned without a chimney or globe of any kind, throwing long quivering
shadows as it flickered in the draught of the open door. The old man motioned
me in with his right hand with a courtly gesture, saying in excellent English, but
with a strange intonation.
"Welcome to my house! Enter freely and of your own free will!"
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