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Burke's Sublime in Walpole's Otranto and Shelley's Frankenstein Erica Roth

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Burke's Sublime in Walpole's Otranto and Shelley's Frankenstein Erica Roth Burke’s Sublime in Walpole’s Otranto and Shelley’s Frankenstein 56 Burke’s Sublime in Walpole’s Otranto In Burke’s On the Sublime and and Shelley’s Frankenstein Beautiful, he discusses how the Sublime and the Beautiful both produce pleasure but are mutually exclusive as part of the imagination. Edmund Burke, a social and political Erica Roth philosopher, wrote On the Sublime and Beautiful in 1757, after studying the imagination in his undergraduate studies. He Erica Roth is studying to receive her Masters Degree in took an interest in the topic when concluding English and American literature at the University of his studies of Locke’s Essay Concerning Houston. Her interests are diverse and include poetry, Shakespeare, and nineteenth century literature. She Human Understanding (Harris). Burke’s recently graduated from Siena College in Albany, NY, theory was derived from curiosity, pleasure, where she received her teaching certificate in secondary and pain. He believed “the roots of human education, and, in the future, plans to bring her passion activity” were “passions” of these three for literature to her classroom. elements, where “curiosity stimulated the mind…while pain and pleasure…corresponded Edmund Burke in A Philosophical respectfully to self-preservation and society” Enquiry into the Origin of our Ideas of the (63). Essentially, the human mind endowed Sublime and the Beautiful states: “the itself with these elements to answer natural Sublime is productive of the strongest instincts and to make improvements in human emotion which the mind is capable of feeling” society. Burke believed that “pleasure” is the (Burke 59). This emotion, as he details in his combination of “all senses” and is “the same On the Sublime and the Beautiful, processes in all, high and low, learned and unlearned” elements found in nature through the senses, (Burke 15). The human mind created these and from these senses, creates intense pleasure-seeking instincts as a reaction to the feelings in the mind. Through literature, human imagination. The creation of pleasure authors can produce similar emotions for their based on the senses allowed for the human audiences, providing intensely horrific mind to experience the Beautiful and the entertainment through literary devices, Sublime. Often the senses are used to satiate including descriptive language, plot, setting, curiosity, pain, or pleasure, and although and characters. Believed to be the first separate, they both depend on the Gothic novel, The Castle of Otranto, written in imagination. 1794, amalgamates horror, mystery, and the To Burke, imagination was influenced supernatural, denoting preliminary stages of by both horror and beauty. He strongly the Sublime. Later, in 1818, Mary Shelley believed “the imagination [was] moved to awe incorporated similar elements into her Gothic and instilled with a degree of horror by what novel, Frankenstein. Although written at is ‘dark, uncertain, and confused’” (Razeen different times, both texts illustrate aspects of 80). The greater the ambiguity of a situation, Burke’s Sublime, including passion, terror, the greater the horror the imagination feels. obscurity, power, and vastness, and ultimately Obscurity lends itself to the Sublime in that if depict the overwhelming power of this the mind is knowledgeable about the object emotion on the mind. through openness and lucidity, the imagination does not sense harm, but Plaza: Dialogues in Language and Literature 2.1 (Fall 2011) Burke’s Sublime in Walpole’s Otranto and Shelley’s Frankenstein 57 pleasurable fear. In essence, because the of any sort of pain….It may be mind is capable of seeing the object for what said, perhaps, that the pain in the object is, the mind experiences pleasure, these cases had its rise from the not horror. removal of the pleasure which the man enjoyed before, though that The imagination creates pleasure pleasure was of so low a degree as through the Sublime and the Beautiful; to be perceived only by the however, pleasure is experienced in the mind removal. (Burke 58) only if the object is perceived as fiction. When sight and associated certainty are The Sublime is an overwhelming sense removed, emotions such as fear are of power on the mind and Burke believes this produced, especially if one perceives the power is derived from an excited state of object as violent and capable of true harm tranquility. When one’s mindset is changed (Burke 76). However, if the mind processes from indifference due to “gratification,” this an object as fictional, the mind can then feel newly-experienced emotion of “pain” creates pleasure from horror. An example which the Sublime (Burke 48-9). But, if one is would exemplify Burke’s notion would be directly immersed in pain, pleasure is not felt peering down the ledge of a high cliff. The because the emotions experienced become mind instantaneously experiences horror too real. In Northanger Abbey, main because the knowledge of looming death character Catherine Morland is fixated with presides as a possibility. But, because the Gothic novels “in which the greatest powers of mind categorizes this knowledge as fictional, the mind are displayed,” and she hopes to pleasure is felt (Burke 71). Burke also experience situations similar to those in her argues, however, if “one gets too close to the book (Austen 12). When Catherine is invited perception, they no longer experience to Northanger Abbey, a supposedly haunted Sublime emotions, only fear” (30). If castle, she creates mysterious and horrific horrifying objects are too close in proximity or scenarios in her head. During her stay at the realness, Sublime emotions fade into sheer Abbey, a thunderstorm excites her “tranquil” horror, becoming painful. state and she begins imagining the horrors from her book taking place at Northanger Burke discusses the absence of pain or Abbey itself. She reaches “pain,” in the form pleasure, known as “tranquility” in the of terror, but because Catherine is too close in Sublime; Jane Austen’s Northanger Abbey imagination to actual reality, she does not illustrates Burke’s theory through protagonist experience the Sublime, and instead Catherine Morland. In Part I of On the experiences fear. The mind, as proven by Sublime and the Beautiful, Burke states: Catherine, must remain at a distance in order The human mind is often, and I for Sublime emotions to be felt. think it is for the most part, in a According to Edmund Burke, the state neither of pain nor pleasure, Sublime and the Beautiful are broken down which I call a state of indifference. into five parts; many aspects of the Sublime When I am carried from this state found in Part II of On the Sublime and the into a state of actual pleasure, it Beautiful can be connected to the Gothic does not appear necessary that I novel. The sections within—Of the Passion should pass through the medium Caused by the Sublime, Terror, Obscurity, Plaza: Dialogues in Language and Literature 2.1 (Fall 2011) Burke’s Sublime in Walpole’s Otranto and Shelley’s Frankenstein 58 Power, and Vastness—all detail elements of The concept of terror relies heavily upon sight the Sublime found in Otranto and insofar as the mind sees an object and Frankenstein. Each element contributes becomes consumed by its horror. Typically, differently to the overall meaning of the the larger an object, the more terrifying it Sublime. becomes. A looming thunderstorm creates terror because of its size; in comparison to In Of the Passion Caused by the the storm, an individual is inferior to the Sublime, Burke explains how astonishment lightning, the clouds, and the rain. However, through passion leads to experiencing the Burke believes regardless of size, any Sublime. Burke states, “The passion caused horrifying object when looked upon will create by the great and Sublime in nature, when the Sublime, stating, “whatever therefore is those causes operate most powerfully, is terrible, with regard to sight, is Sublime too, astonishment; and astonishment is that state whether this cause of terror be endued with of the soul, in which all its motions are greatness of dimensions or not; for it is suspended, with some degree of horror” (95). impossible to look on anything as trifling, or He believes when one experiences contemptible, that may be dangerous” (96). astonishment, or great amazement, the The imagination presupposes the sight as Sublime is experienced because the dangerous or horrifying, thus creating the imagination becomes obsessively consumed Sublime. by one’s horror. Essentially, the individual becomes so enthralled with an object that the In Obscurity, Burke discusses how mind cannot “entertain” or conceptually terror is enhanced because of ambiguity fathom any others (95-6). The mind can only caused by light (99-101). Most often, terror focus on the object it is astonished with, and is felt in the darkest hours, or in locations of “disallows the proposal of any other form of utter darkness. Obscurity possesses one of object to be introduced” (Mishra 16). Passion the greatest Sublime qualities: uncertainty. is believed to be the introductory state before Where the mind is prohibited by light, the experiencing the Sublime as the imagination imagination causes one to believe there are focuses on a central object or idea and scary entities, such as ghosts or monsters, becomes obsessed with it. This obsession lurking. Additionally, because the eyes are begins the eventual descent into experiencing unable to clarify what the mind believes, the terror. threat of danger is enhanced and Sublime emotions are experienced. Burke believes Terror is a passion that relies on obscurity is the foundation of ghost stories: senses, especially sight, to ignite Sublime emotions. After the mind becomes fascinated Everyone will be sensible of this, by a particular object, the imagination cannot who considers how greatly night entertain any other ideas or objects, adds to our dread, in all cases of consequently creating horrible, scary danger, and how much the notions situations based around that object.
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