SUMMERS, KAREN CRADY, Ph.D. Reading Incest - The University ...
SUMMERS, KAREN CRADY, Ph.D. Reading Incest - The University ...
SUMMERS, KAREN CRADY, Ph.D. Reading Incest - The University ...
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120<br />
and, as Kenneth Graham notes, is “an inevitable result of the revolutionary shocks which<br />
all of Europe was feeling in the late eighteenth century. [<strong>The</strong> Marquis de] Sade reminds<br />
us that the Gothic novel is a product of a revolutionary age” (260). Readers found that<br />
the Gothic novel “voiced a protest against the excess of rationalism and realism in the<br />
early eighteenth century” (Scarborough 6), reacting to the cultural transformations of the<br />
previous centuries in light of even more changes. <strong>The</strong> popularity of the Gothic form may<br />
have been because its response to the pervading cultural anxieties of the period was easily<br />
recognizable by such a wide range of readers. Ironically, too, the rising readership of<br />
novels “exacerbated the neoclassical fear that all romances and novels could produce<br />
antisocial effects and lead to social disintegration” (Botting 46). In the preface to the<br />
second edition Walpole defines his work as “an attempt to blend the two kinds of<br />
romance, the ancient and the modern” (xxx), a union of two seemingly unmixable<br />
things. 1<br />
Hogle notes that<br />
the Gothic has frequently displayed generic instability, a visible and unresolved<br />
conflict between retrograde and progressive discourses, from aristocratic and<br />
middle-class ideologies to alchemy and modern science . . . that prevents its<br />
monsters and ghosts from reconciling their tensions between death-seeking and<br />
life-affirming tendencies. (29-30)<br />
Often, incest is used to do the same things; in literary works it can represent confusion,<br />
ambiguity, and transgression, in much the same way that the Gothic conventions do. <strong>The</strong><br />
1 Compare this to the description of tragicomedy as a “mungrell mixture” of two competing and seemingly<br />
incompatible varieties of drama a monster wholly unknown to antiquity. . . .to join these two Copies of<br />
Nature together [is] monstrous and shocking” (Maguire 1). <strong>The</strong> idea of monstrosity and the unnatural, of<br />
the mingling of things which ought to be kept separate, belongs also to the definition of incest.