A2 Literature: Gothic Protagonists

After revising both Victor and Macbeth as Gothic protagonists last week, I feel as if it is perfect to not only remind myself of everything I have learnt, but also to put all of my revision of this topic in one place. So here is a blog focusing on both Macbeth and Victor as Gothic protagonists...enjoy!

Typical Traits of a Gothic Protagonist: 

• Extremities in behaviour / Excessive emotions
• A fascination with the past 
• A tragic flaw which ultimately leads to their downfall
• A high social ranking
• Links to the supernatural 
• An absolute goal or aim 
• A large psychological conflict / turmoil. 

Macbeth as a Gothic protagonist: 

Despite Shakespeare's writings of 'Macbeth' occurring approximately two centuries before the introduction of the first Gothic novel, 'The Castle of Otranto', the focal role of Macbeth most certainly moulds to the role as a Gothic protagonist, as he possesses many of the qualities listed above. It most certainly cannot be denied that Macbeth possesses qualities of madness, and a large psychological conflict as a Gothic protagonist. Throughout the play, Macbeth suffers a series of externalisations of his manifested guilt and turmoils, whether this is shown in the form of the dagger, the three Witches, or even Banquo's ghost. 

Arguably, the greatest conflict in which Macbeth faces is whether he should commit the act of murder against King Duncan, which causes him to envision a "dagger of the mind, a false creation" which he recognises as "Proceeding from the heat-oppressed brain."It is important to note that instantly after returning from the murder of Duncan, Macbeth appears to be mentally unhinged, as he utterances appear much more abrupt, disjointed and obsessive as he becomes entirely consumed with the fact that he was unable to utter "Amen" in response to Duncan's sons. Macbeth's initial conflict regarding whether or not he should submit to the prophecy of the Witches - "cannot be ill, cannot be good" - forms a catalyst for a vast number of sudden psychological conflicts, which appear to grow more intense and grotesque as the play continues; until Macbeth finally envisions himself "stepped in blood."Thus, affirming Macbeth as a Gothic protagonist due to his suffering at the hands of his own psychology which becomes externalised in many forms throughout the plot. 

As a result of this madness, Macbeth also suffers from extremities in behaviour, as he abruptly shifts to display an excessive amount of rage, or even guilt as to what he has committed. For example, a key moment in which we witness Macbeth's extreme behaviour is in Act Five, Scene 3, when he begins to display an excessive anger towards one of his servants: "Go prick thy face and over-red thy fear, Thou lily-livered boy."Throughout this scene, Macbeth's behaviour shifts swiftly, as he suddenly requests his armour - "Give me my armour" - in an outburst of determination to fight, before then suddenly fearing the inevitability of his death and stating: "Pull't off, I say." Immersed in this state of unpredictability, Shakespeare's use of language within this scene is extremely excessive, as Macbeth utilises a vast range of negative lexis, such as: "Pluck, raze, diseased, troubles, oblivious"- thus, further accentuating the excessive nature to Macbeth's entire being by the conclusion of the play. 

However, it is not just anger and rage in which Macbeth possesses in his extreme behaviours, but rather guilt, which at sometimes shock him into realising the enormity of the crime in which he has committed. For example, directly after the murder of Duncan Macbeth states: "Wake Duncan with thy knocking! I would thou couldst!" where he appears to realise the nature of the act he has just committed, he attempts to make a sarcastic joke of it; however, ultimately Macbeth becomes taken aback by the murder he has just committed. Duncan will not be awoken, and Macbeth now can no longer return and redeem his guilt. 

Another vital trait in which Macbeth possesses which affirms him as a Gothic protagonist would be his high social ranking as the King of Scotland by the conclusion of the play. Notably, Shakespeare sums up entirely Macbeth's improvement in social standing through Banquo's utterance: "Thou hast it now - King, Cawdor, Glamis, all,/ As the weird women promised, and I fear / Thou played'st most foully for't." Throughout the play, Macbeth progresses in social standing greatly; however, it cannot be so easily suggested that he was of a lower class status to begin with. It is important to note that even in the opening of the play Macbeth possessed a high social ranking as a worthy warrior of King Duncan, whom all, including the King, praised as a "worthy solider" achieving victory through "bloody execution." Although, as the play progresses, Macbeth's swift improvement in social standing most certainly appears to affirm his connection with the role as a Gothic protagonist. 

Arguably, Macbeth's absolute goal or aim is essentially his tragic flaw which ultimately leads to his downfall; thus, aligning Macbeth with another two conventional traits as a Gothic protagonist (how perfect!) Macbeth's character flaw is his ambition, and greed to achieve his fatal goal: to secure Kingship within Scotland, and to fulfil the prophecies of the Witches - "All hail Macbeth, King of Scotland." Notably, directly after his first meeting with the Witches in Act One, Scene Three, Macbeth states: "That is a step / On which I must fall down, or else o'er-leap." which instantly highlights his ambitious desires to pursue the prophecies of the Witches, so much so, that he suddenly begins to consider and plot his journey to Kingship. Furthermore, even before this consideration, Macbeth appears "rapt withal" in regards to the Witches speech, thus, further highlighting his passion/ambition in the early stages of the play; which appears to disregard the argument that Lady Macbeth is the main catalyst of Macbeth's ambition, forcing him to commit murder - as in fact he appears enraptured in his ambition even before conversing with his wife. 

In further development of this, the final trait of a Gothic protagonist in which Macbeth certainly displays is his relationship with the supernatural, which is shown through his bond with the three Witches, his "horrible imaginings" of the "dagger of the mind" and finally the ghost of Banquo. Macbeth's dominant association with the supernatural in the play appears to affirm him as a weak, passive figure who is controlled by his own manifestations; not only through the theory that the Witches are an externalisation of his psychological turmoils (mention in more detail in my previous blog post - here), but additionally through the way in which he understands the dagger to be a "false creation." In regards to Banquo's ghost, it is important to note that no one else is able to see the "very painting of [his] fear", which appears to further connect the trait of madness and the supernatural in relation to Macbeth being a Gothic protagonist. 

Victor as a Gothic protagonist: 

Victor Frankenstein most certainly possesses an absolute goal or aim within Mary Shelley's 'Frankenstein', which is displayed within his "feverent longing to penetrate the secrets of nature" and "renew life where death had apparently devoted the body to corruption." Throughout the novel, Victor appears to possesses no sense of the long term, as he conducts 'science without morals' and subsequently creates a "fiend" whom "snatched from [him] every hope of future happiness."Victor obtains an utter devotion towards his "secret toil"to the extent that he submits himself to total isolation, thus, allowing him to devote himself with "ardour" to his creation of a being composed from body parts from the "dissecting room and the slaughter house." Thus, affirming Victor's obsession with his absolute goal or aim: to transgress the boundaries of life and death through the development of modern science. 

Much like Macbeth, Victor's tragic character flaw is his over-reaching ambition, which gradually becomes more powerful than him in the form of the Creature. Notably, Victor's ambition causes him, much like his absolute goal or aim, to blind him to the consideration of any long term consequences, and it is not until the Creature requests a "companion...of the same species" that he suddenly considers the potential for a "race of devils" to pollute the earth. However, as the reader knows this is too little, too late.  Victor becomes almost too enraptured with the idea of creating life, that he gradually makes himself mentally unhinged, and almost becomes like the Creature in which he so detests - "I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible."Arguably, Shelley not only appears to affirm Victor as a Gothic protagonist, but additionally, like Shakespeare, warns of the dangers of becoming subservient to our ambition, and attempting to transgress past our roles within humankind to become "more powerful than [our] nature will allow."

Throughout 'Frankenstein', Victor displays strong extremities in his behaviour, with most of his actions/utterances being excessive, extreme or even obsessive in nature. Even within the first chapter, Shelley affirms Victor's dominant sense of obsession (which could also be seen as a character flaw) as he regards Elizabeth as his "more than sister, since till death she was to be mine only." Within this extract, Victor appears to surpass being merely protective of his sibling, but almost worryingly obsessive over her; treating Elizabeth as if she were a "pretty present" in which he owns - making her untouchable to any other being. Notably, throughout the novel, Victor appears to victimise himself, so that it almost appears to become a comical competition between him and the Creature as to who appears the most victimised. For example, Victor's language throughout appears excessively melancholy, as he refers to himself as a "miserable spectre of wrecked humanity", as well as the way in which he "trembl[es] with passion" as he "ardently wished to extinguish the life [he] had so thoughtlessly bestowed." It cannot be denied that throughout 'Frankenstein', Victor most certainly displays extreme behaviours, which compose him to be an entirely melodramatic, excessive Gothic protagonist. 

In association with this extremity in behaviour, Victor possesses a range of inner conflicts throughout the novel; for example, his inner turmoil as to whether he should create a new companion for the "wretch" in which he created, or whether or not he truly wants to marry Elizabeth or remain in isolation - "Alas! to me the idea of immediate union with Elizabeth was one of horror and dismay."In addition to this, one of the great inner conflicts Victor faces is whether he should confess his "secret toil[s]" in order to save Justine from being executed as a "murderess", as he fears that he will condemned as a "madman" as a result of this. However, Victor decides to continue in his pursuit of ambition and usurpation as he concludes that he will not admit to the nature of his creation ; thus, allowing his inner conflict to once again cause the death of another innocent being at the hands of the Creature. 

Furthermore, Victor appears to possess a strong fascination with the past, as he becomes enraptured with the philosophical works of Agrippa/Paracelsus in which his father regards as "silly trash" due to it's outdated nature. In addition to Victor's obsession with the history of science, he additionally can be argued to be obsessed with the death of his mother, which can be seen as his initial reason for transgressing the boundaries of life and death - "the brightness of a beloved eye can be extinguished, and the sound of a voice...hushed, never more to be heard."Arguably, the death of Victor's mother holds such an impact on him that he decides to attempt to eradicate the bereavement and guilt of death, by allowing "life" to be "renew[ed]" when "death" attempts to "devote...the body to corruption." Thus, accentuating the way in which past events appear to take a strong hold on Victor's state of mind. 

Finally, throughout the novel, Shelley intrinsically links Victor to the supernatural through his connection with the Creature - whom could be regarded as his double (shown in previous blog post - here.) Notably, as the novel progresses, Victor appears to become much like the Creature in regards to his physical appearance, as he "gnashe[s] his teeth, and [his] eyes [become] inflammed."Thus, further aligning him with the supernatural - a vital attribute of a Gothic protagonist. 

A2 Literature: The Witches

Within Shakespeare's 'Macbeth', one of the most vital roles to consider is the three witches, as they can relate to such a vast range of essays and provide you with a large amount of interpretations to use in the exam. The 'weird sisters' are an extremely helpful way to incorporate the connections to the Gothic in your work, with their alignment with the supernatural, liminality, violence, chaos and death.  So on that lovely note...enjoy!

The Three Witches: What is their purpose?

The Witches' purpose within 'Macbeth' is at first unclear; however, as the play develops these three supernatural beings appear to possess a large amount of purpose within the plot. For example: 

• The Three Witches are a tool utilised by Shakespeare in order to accentuate the greed, desire and over-ambition of humanity from an external, detached perspective. 
• The Witches are externalisations of Macbeth's "black and deep" desires, as well as his sense of inner conflict/guilt/ambition. 
• The 'weird sisters' are composed by Shakespeare in order to introduce/consolidate an atmosphere of confusion, chaos and imbalance within the plot. 
• The Witches are used by Shakespeare as a 'foreboding' tool (foreboding is a Gothic notion too) , subsequently, providing the audience with hints regarding the end of the plot. 
• The Witches form a literary mechanism within 'Macbeth' in order to move the plot forward, after all, without their prophecies would Macbeth have continued, or even started, his murderous journey? 
• From a feminist reading of 'Macbeth', it could even be argued that the Witches are seen as representations of the isolated female from the domestic sphere, due to their strange behaviours, appearance and personalities. 

 The Appearances of the Witches:

Act One, Scene One: 

Instantly, within the opening of 'Macbeth, Shakespeare transports the audience to a world of confusion, chaos and imbalance; a place alien to human values, where darkness and foulness dominate ordinary and good values. Arguably, even before the witches have spoken, Shakespeare foreshadows the chaotic nature to their characters through the use of pathetic fallacy: "Open Ground. Thunder and Lightning." When analysing this use of pathetic fallacy, it is interesting to note that both "thunder and lightning" represent entirely the nature of the witches throughout the plot as a whole. For example, Shakespeare's use of "thunder" emphasises the domineering sense of power they evoke throughout the plot, not only as they ultimately control Macbeth like a puppet throughout the plot; but additionally, the way in which their prophecies inevitably lead to the disruption of the natural order. Furthermore, the addition of "lightning" may be exposing the abrupt, sudden appearances of the witches, and the way in which although their scenes are rather short in length - much like "lightning" itself - they still hold the potential to cause such a large amount of destruction within this amount of time. (I may be reading too much into this, oops! But still it is rather interesting to consider.) 
Notably, this use of pathetic fallacy later is affirmed by the Witches themselves, as they state: "When shall we three meet again? / In thunder, lightning, or in rain?" which further appears to align them with negativity and foulness. However, it may be important to note that the first two lines in which the Witches utter are in fact questions, which could serve as a subtle hint foreshadowing their intrinsic links to ambiguity and confusion throughout the plot as a whole. 

Throughout the Witches' speech Shakespeare utilises paradoxes in order to align the 'weird sisters' with a sense of ambiguity and confusion throughout the plot. Notably, the Witches state that they will not return/meet again until "the hurly-burly's done;/ When the battle's lost and won."which instantly catalyses questions for the audience: How can a battle be both lost and won? However, it is important to note with this quotation the way in which it mirrors the later line: "What he hath lost, noble Macbeth hath won.", which further affirms the prophetic nature of the Witches, and the way in which they continually appear to utter the words of many of the other characters before they have even been spoken. When evaluating the plot as a whole, this particular line could be seen as foreshadowing the nature at which Macbeth loses the battle to Macduff, which leads to a sense of rebalance and order within nature and Scotland itself at the crowning of Malcolm. 

However, despite the Witches appearing to obtain a strong sense of power and strength throughout 'Macbeth', it is important to note that they possess a series of weaknesses, which ultimately results in them appear less all-consuming and dangerous in their nature. 

For example, within the previously mentioned extract: "When the battle's lost and won", it could be argued that the Witches appear to possess a subtle sense of weakness, as they seem to fear the battle; they must wait patiently in hiding before committing any acts of puppetry, away from the threat of war. 

Finally, to conclude Act One, Scene One, the three Witches begin to chant in unison: "Fair is foul, and foul is fair;/ Hover through the fog and filthy air." Shakespeare's use of rhyming couplets within the Witches' speech brings to mind a sense of incantation and magical charms, which enhance their alignment with the typical expectations of supernatural witchcraft - thus, making them more fearful to a Jacobean audience, which I will elaborate on later in the post. Notably, there are many interpretations regarding this line; the first being that Shakespeare is intending to associate the witches with a sense of darkness and unhealthiness through his use of negative lexis such as: "foul, fog and filthy." However, it could be more strongly evaluated that in fact the Witches paradox within this scene foreshadows the nature at which all that appears "fair" within the opening of the play, will corrupt to become of a "foul" nature - much like Macbeth's descent to insanity, and many of the human relationships within the play. 

Act One, Scene Three: 

Previously within 'Macbeth', the supernatural world of the Witches has been separated from the world of humanity/mankind, as they remained detached on a section of "open ground", immersed in a sense of darkness, chaos and unhealthiness. However, now the world of the supernatural and that of humanity are brought together upon a "barren heath" surrounded by the repeated pathetic fallacy of "thunder"; which further affirms the power of the Witches even in the sphere of mankind. 

It is important to note that within Act One, Scene Three, Shakespeare composes the Witches to appear significantly more grotesque, violent and inherently evil in their nature, as they open the scene stating that they had previously been "killing swine". Thus, evoking a sense of violent, uncivilised behaviour. Furthermore, the recital of what the Witches plan to inflict upon the Sea Captain further affirms this sense of violence and corruption in association with the witches: "I'll drain him dry as hay;/ Sleep shall, neither night nor day.../Shall he dwindle, peak and pine."Notably, although this could be seen as an exposition of the crimes in which the Witches desire to inflict on men; it could more strongly interpreted as a foreboding image of Macbeth's descent into insanity/sleep deprivation - as he too portrayed to be a passive puppet under the manipulative control of the 'weird sisters.' 

However, after the Witches state this particular extract regarding what punishment they will inflict on the Sea Captain, they appear to once again expose a subtle hint of weakness within their powers: "Though his bark cannot be lost,/ Yet it shall be tempest-tossed." Thus, accentuating that the Witches are unable to destroy the Sea Captain himself, but rather, can only utilise the natural world - such as storms, wind and lightning - in order to affect the ship on which he sails on. Subsequently highlighting that the Witches may not be all as powerful as they may seem, but rather than can only cause mayhem through secondary means; for example, they are only able to affect people with the aid of other means of destruction, such as Macbeth's weakness and character flaw, and the natural world to destroy the ship. 

Act One, Scene Three can be seen as vital in developing the characterisation of the Witches, as Shakespeare provides the audience with intricate details regarding the physical appearance of the Witches; which appears to further associate them with the Gothic notions of liminality and the supernatural. Banquo describes the Witches to appear "so withered, and so wild in their attire,/ That look not like th'inhabitants o'th'earth" which suggests the physical appearance of the Witches to be entirely aligned with the chaotic, dark and evil nature to their speech. However, most importantly, it is Banquo's expression that the Witches "should be women,/ And yet [their] beards forbid [him] to interpret / That [they] are so." Thus, creating a strong connection to the role of Lady Macbeth, and her desires to be "unsex[ed]" and removed of her feminine nature. For example, from the descriptions of Banquo, the Witches appear to be of a liminal state; they are neither male nor female, but like Lady Macbeth's desires they are of an "unsex[ed]" state. Thus, making them powerful, as they are not oppressed by the expectations of gender identities. 

Throughout this scene, the Witches can be seen as strongly aligned with Macbeth's psychology; however, I will elaborate on this in more depth later in the blog post. 

Finally, it is important to note within this extract one of the most important quotes in relation to the Witches: "The instruments of darkness tell us truths,/ Win us with honest trifles, to betray's/ In the deepest consequence." Within this extract, Banquo unknowingly unravels the entire purpose of the Witches, as well as the tale of events throughout the plot. Banquo appears entirely rational within this extract, in comparison to a "rapt withal" Macbeth, who appears to instantly become subservient to the prophecies of the Witches: "If chance will have me King, why, chance may crown me."Notably, it is important to consider the nature at which Banquo is murdered by Macbeth, which could add strength to the interpretation that the Witches are the puppeteers of Macbeth, as they decide to brutally murder Banquo before he develops his untrusting opinions of the Witches any further. However, this would be reliant on interpretation, as it could alternatively be seen as a much more tragic portrayal of Banquo, who is unaware that his predictions are true, and will ultimately lead to his downfall. 

Act Three, Scene Five: 

Within Act Three, Scene Five, Shakespeare introduces the role of Heccat in association with the three Witches. Heccat is the "mistress of [the Witches'] charms" and forms the Greek goddess of witchcraft, sorcery and the dead. Within 'Macbeth', Heccat is clearly malevolent and plans to secure the destruction of Macbeth. 

In Act Three, Scene Five, the audience are again made aware that the Witches obtain limitations to their powers, due to the arrival of Heccat, who reduces them to appear as naughty children who have acted without her authority, with their own intention being to have fun and cause chaos: "How did you dare / To trade and traffic with Macbeth / In riddles and affairs of death." Shakespeare's inclusion of Heccat entirely shifts the audiences' perceptions of the Witches, as they no longer seem to be an all-consuming, powerful force; but rather, naive and unaware in their lack of knowledge that Macbeth has no interest in benefitting witchcraft, but only "loves for his own end, not for you."

However, Heccat's purpose may alternatively be more broad than just to accentuate the limitations to the Witches' powers; but rather, Shakespeare's inclusion of this figurehead of witchcraft may be to accentuate the supernatural's detached/external perspective on humanity. For example, after Heccat states "loves for his own ends, not for you", she adds "(as others do)" which appears to accentuate the nature at which the supernatural regards humanity as a greedy, lustful and over-ambitious force, who takes advantage of unnatural powers in order to achieve their own ambition - much like Macbeth, and Lady Macbeth's callings to the "spirits". Thus, highlighting that Heccat's purpose may be to expose to the audience a sense of morality, making them reflect on their own greed from the detached state of the supernatural; proving Heccat's role to maybe further accentuate the moral of the play - do not give into greed and over-ambition. 

Shakespeare's conclusion of this scene is particularly dramatic, as we see Heccat vow to secure the downfall of Macbeth with every shed of power she possesses, which places the audience in utter suspense and anticipation for the following scene: 

"Shall raise such artificial sprites

As by the strength of their illusion

Shall draw him on to his confusion. 

He shall spurn fate, scorn death, and bear 

His hopes 'bove wisdom, grace, and fear.

And you all know, security

Is mortals' chiefest enemy." 

The Witches & Macbeth's Psychology: 

As previously mentioned, the Witches can be interpreted as a manifestation of Macbeth's psychological turmoil, which attempts to repress his "black and deep desires" to achieve Kingship through murderous acts. Instantly, in Act One, Scene Three of the play, when Macbeth utters his first line of the play, Shakespeare strongly aligns Macbeth with the Witches as he mirrors their earlier used paradox "fair is foul, and foul is fair" as he states: "So fair and foul a day I have not seen." Arguably, Shakespeare instantly composes an intrinsic link between Macbeth and the Witches, which creates the sense that either the Witches are entirely in control of Macbeth's psychology from the start, or are merely externalisations of his desires - stated in their prophecies. 

When considering these interpretations, it is important to note the language used by Shakespeare when composing the lines of the Witches, for example, his use of synchronised speech and rhyming couplets (AO2), as the Witches chant in unison ambiguous riddles regarding their prophetic theories. Shakespeare's use of language here creates the sense that the Witches are a collective force/idea, as opposed to three individual characters; thus, affirming the interpretation that they are a manifestation of Macbeth's mind, with Macbeth being particularly vulnerable to their influence as they voice the desires of his heart. It is important to note the manner at which Macbeth appears suddenly afraid of the Witches upon seeing them - "Why do you start, and seem to fear / Things that do sound so fair?" - despite Banquo witnessing them too, it is only Macbeth who becomes consumed with a sense of terror and horror at the sight of the Witches. Thus, it could be interpreted that for a moment Macbeth recognises these figures to be rationalisations of his own desires; however, he continues to become "rapt withal" when they begin to utter the desires of his subconscious - unable to resist the temptation of power and glory through ambition and greed. 

Contextual Points: 
In regards to the audience reception of the three Witches, a Jacobean audience would have perceived the Witches entirely at face value, believing them to be a very real and potential threat to their every day values. To a Jacobean audience, witches were thought to be both political and spiritual traitors; thus, when anyone was suspected of conducting witchcraft or being associated with it in anyway, they were punished violently and brutally with death. 


Notably, Shakespeare's writings of 'Macbeth' occurred directly after James VI became King James I of Scotland. James was strongly interested in witchcraft, so much so, that he wrote the book 'Daemonologie' in 1597, which highlighted his beliefs that witchcraft existed and obtained a strong sense of supernatural power. Therefore, when considering the purpose of the Witches, it could be argued that these three supernatural beings were only included to appease King James I; they in fact possess no true meaning, but to please King James' obsession with witchcraft. However, this would be a rather weak line of argument to pursue, so it's better to just either use it as a means of consideration or rejection, as the view may be seen as too narrow to use as your main argument. 

A2 Literature: Frankenstein & Doubles

I have been putting off doing a Frankenstein blog post for a total of 4 days now, but enough is enough, I need to stop focusing on my adoration of 'Macbeth' & 'The Bloody Chamber' to give my old buddy Victor a bit of revision attention. One of the concepts in which I find the most interesting in Mary Shelley's 'Frankenstein' is the gothic notion of the doppelgänger, so therefore this seems the most appropriate to start with. Enjoy!

What is 'the double'? 

Gothic Literature dominantly exhibits the theory of ‘doubles’, which refers to an externalisation of a part of self, which is frequently used to demonstrate the tensions between the laws of society and the desires of the individual. Thus, giving voice to that which has been silenced by rational discourse or repression. 

Many critics argue that throughout Shelley’s ‘Frankenstein’, both Victor and the Creature are constructed as ‘two halves of the same whole’, with both antagonists possessing similar characteristics and tragically flawed vices - such as their thirst for revenge when both their brides’ are so monstrously murdered before their own eyes. Many interpretations exist as to what the Creature truly represents, whether it be an externalisation of Victor's repressed desires to eliminate any form of familial contact to achieve absolute isolation, or even if the Creature forms a rationalisation of Victor's sexuality - which he appears repulsed and disgusted by: "the filthy mass that moved and talked...breathless horror and disgust filled my heart." However, despite alternative perspectives, it most certainly cannot be denied that there are vital similarities to be drawn between Victor and the Creature, which appear to affirm them as doubles of one another: "my own spirit...forced to destroy all that was dear to me!"

'Two halves of the same person': Victor & The Creature

Throughout 'Frankenstein', Shelley establishes vital similarities between both Victor and the Creature, which appears to affirm the argument that Victor's creation forms an externalisation of his "own spirit", who is able to commit the evil acts in which he is unable to carry out due to the socially accepted behaviours of patriarchy. Some of the vital similarities between Victor and the Creature are as follows:

• Both begin the novel as "benevolent" and insightful beings who both become tarnished with a vengeful craving for revenge and hatred for one another: "I cannot believe that I am the same creature whose thoughts were once filled with sublime and transcendent visions." 
• Both victimise themselves excessively, until it almost appears as a competition on whom is the most miserable: “more miserable than man ever was before, why did I not sink into forgetfulness and rest?”
• Both react in a similarly exaggerated, vindictive manner to the death of their brides.
• Both characters suffer greatly from isolation; however, Victor's is significantly more self-imposed than that of the Creature.
• Both characters hold strong links to intertextuality: Victor adores the scientific/factual works of Agrippa/Paracelsus/Magnus, and the Creature learns from Milton's 'Paradise Lost' and Plutarch's 'Lives'
• Both Victor and the Creature appear to mirror the theories of God & Adam, which further creates allusions to 'Paradise Lost' as the Creature believes "Satan to be the fitter emblem."

Freud & Frankenstein:

When considering both Victor and the Creature as doubles, it is important to consider the gothic notion of the 'doppelgänger' from a Freudian perspective by looking at the psychoanalytical theories of the 'divided self' and the two key aspects of this division. 

The first key aspect of the 'divided' mind is the ego, which by Freudian definition attempts to balance between reality and illusion, mediating the two in order to carry out socially accepted schemes of behaviour, whilst repressing our darkest desires. Thus, in simple terms, meaning that the ego is the part of the 'divided self' in which we use most significantly, it is the version of ourselves we present to society - acting almost as a shield for our repressed desires. The 'ego' frequently feels obliged to repress any dark, corruptive desires or thoughts we may possess within the unconscious with it's own rationalisations - meaning we may not know we even have them; the ego constantly takes notice of reality even when these oppressed desires may remain strongly in our minds. A good way to remember this is to think of a conventionally two-faced person (unfortunately everyone knows one, unless it's you and you don't realise), and the way in which they are nice to a person's face, yet behind their back, become mocking or even rude about them. Well, when considering the theory of the 'ego' this is surprisingly really helpful (even though that two-faced person may not be so helpful to have around), mainly because if you imagine the 'ego' as their nicer persona towards people, and their hidden 'ID' as the horrible/mocking side. The 'ego' is the nice, eloquent, sensible front we put on; hiding our maybe sometimes horrible thoughts. 

Therefore, leading beautifully on to the second key aspect of the 'divided' mind: the 'ID'. Notably, this second key aspect of the brain features our basic, instinctive desires; the dark, inaccessible parts of our personality which knows no judgement, morality or values - no good or evil. The 'ID' is nothing more than a selfish drive to achieve our negatively ambitious, instinctive desires. The 'ego' contains reason, rationality and sensibility, as opposed to the 'ID' which possesses solely passion - and it is this ID which is expected to remain repressed from society by the concealing 'ego'. 

Arguably, these two key Freudian concepts can be applied to the roles of Creature and Creator in Mary Shelley's 'Frankenstein', with both 'ego' and 'ID' being represented as one entity, and the Creature being the embodiment of Victor's subconscious desires; and therefore, the darkest, deepest aspects of his personality. However, it is key to note that the Creature is physically separated from Victor, which makes the Freudian concepts slightly more complex when relating them to 'Frankenstein', as the Creature (the ID) is an independent being in which Victor (the ego) cannot repress. Mary Shelley's composition of the doppelgänger, 'divided self' theory allows the Creature to be able seek out it's own satisfaction and fulfilment of it's dark desires: "Before, dark and opaque bodies surrounded me, impervious to my touch or sight; but now I found that I could wander at liberty."

Notably, when considering the Creature as an externalisation of Victor's repressed desires, it is interesting to note the way in which the series of murders committed by the Creature appear to almost be pre-meditated in the mind of Victor. For example, after the completion of Victor's toils, he receives a letter from Elizabeth telling him that his father’s health is still ‘vigorous’, that Justine has been adopted by the family, and that William is "tall of his age, with sweet laughing blue eyes" before concluding with a list of local marriages as a hint to Frankenstein - forming a catalogue of his worst psychological fears. Subsequently, the murder of William – the removal of Frankenstein’s sibling rival, and the accusation of Justine - abruptly follows. Thus, presenting an interesting case of psychological transference, as Frankenstein would ideally remove Elizabeth, but the similarly adopted daughter is substituted. Justine is killed by strangulation, in the same way that Elizabeth will be, which appears to affirms the presentation that the Creature is an externalisation of Victor’s evil and ‘nightmarish’ desires for violent acts of murder underneath his apparently ‘civilised’ state of mind.

A vital quote to affirm this is as follows:

"My own vampire, my own spirit, let loose from the grave and forced to destroy all that was dear to me!"

Doubles & Sexuality: 

Arguably, when further evaluating the Freudian reading of 'Frankenstein', it could even be argued that the Creature forms an externalisation of Victor's sexuality; which would explain why Victor feels such repulsion and "breathless horror and disgust" towards the Creature. Notably, within the novel, the Creature becomes entirely enraptured with the idea of companionship, which finally causes him to request to Victor: "My companion must be of the same species, and have the same defects. This being you must create." However, it is also important to note the way in which Victor detests many forms of companionship, for example, the nature at which Victor secludes himself in absolute solitude when consummating his "toils"; as well as the way in which he feels such repulsion towards marrying Elizabeth: "Alas! to me the idea of an immediate union with my Elizabeth was one of horror and dismay!"This vital difference between the two characters appears to solidify the argument that the Creature forms an externalisation of Victor's sexuality, or that which he so fears to confront - which would explain his abrupt exit from the room upon the "spark of being" awakening the Creature. 

Most significantly, it is more than coincidental that on the night of Victor's marriage to Elizabeth, a time when he will most certainly have to confront his sexuality, the Creature conveniently murders Elizabeth. However, arguably, the Creature's murder of Elizabeth can be viewed as more than this, with Shelley's use of sexual imagery when expressing the nature at which Elizabeth is "thrown across the bed" in a "relaxed form" on her "bridal bier." Thus, implicitly suggesting that the Creature either raped, or conducted some form of sexual contact with Elizabeth, before her death; subsequently, highlighting the Creature as an externalisation of Victor's repressed and 'monstrous' sexuality. The Creature is able to do what Victor cannot; he is able to consummate the marriage. 

A2 Literature: Lady Macbeth

Okay, so for my 4th blog I thought I would put all of my revision notes on Lady Macbeth in one place, as I think that she not only forms such a vital character within Shakespeare's tragedy as a whole; but additionally, I have so many notes on her which quite frankly need to be organised before the exam. Plus, Lady Macbeth is my absolute dream role to play, so this blog should be rather fun to write. Enjoy!

Lady Macbeth: 

Shakespeare's construction of the role of Lady Macbeth composes her to be one of the most powerful females within literature, whom entirely subverts the many gender expectations of the passive, subservient, patriarchal female. Instantly, upon meeting Lady Macbeth, Shakespeare strongly associates her with the supernatural elements of the play, as she appears to mimic the grotesque, macabre language of the witches: "Pour my spirits in thine ear,/ And chastise with the valour of my tongue." Thus, instantly constructing Lady Macbeth to be a cunning, sly figure in which the audience should remain cautious and untrusting towards; especially for a Jacobean audience, whom would have perceived the supernatural as a very real, corruptive threat. 

In addition to this, alongside Shakespeare's alignment of Lady Macbeth with the supernatural elements, he also establishes the nature at which she usurps Macbeth's role within the marriage, and the dominant sense of power she possesses in comparison to her husband. For example, right from the start Lady Macbeth entirely subverts the expectations of the audience, as a Jacobean audience may have at first perceived her to be a conventional representation of the patriarchal female, as she merely repeats the words of her husband aloud - thus, evoking a sense of obedience and passivity, in which women were supposed to uphold. However, directly after she concludes repeating the words of Macbeth's letter, she begins to speak freely her own externalised desires and determination to fulfil the prophecy: "Glamis thou art, and Cawdor, and shalt be / What thou art promised." Therefore, accentuating to the audience that Lady Macbeth will not conform to the expected behaviours of the female within patriarchy, but rather will speak freely, asserting her power and her desires, just as equally as a male would. 

Notably, it is interesting to consider the way in which Shakespeare shifts the expected power balance and gender roles within the marriage, in order to make Macbeth appear significantly weaker in comparison to his wife; which maybe makes the dominant shift in Act Four of the play, when Lady Macbeth begins to demise in power, that much more significant. For example, one of the first lines Lady Macbeth states is: "Yet I do fear thy nature:/ It is too full o'th milk of human kindness." which forebodes to the audience that the power to succeed must come from this female figure, as she fears that her husband possesses too much morality and kindness to ever consider murder as a means of improving his social status. Arguably, it remains interpretable whether Shakespeare establishes Lady Macbeth's sense of power within this specific quote merely to accentuate the subversion of these martial roles, placing a strong emphasis on Macbeth's weak nature, which makes his later shift to tyranny and immorality even more disturbing and shocking - as the audience are able to compare this to Macbeth's earlier lack of power in the company of his wife. Or, alternatively, whether Shakespeare establishes Lady Macbeth's disregard of her husband so excessively in this opening scene in order to exaggerate her instinctive relationship with ambition; as she instantly appears to become enraptured with her own desires to "have thee crowned withal" that she begins to belittle her husband and fear that she may have to act alone: "Art not without ambition." 

The "Unsex me here" Speech: 

 Lady Macbeth's "unsex me here" speech forms one of the most vital soliloquy's within the play as a whole, with Shakespeare not only reaffirming her intrinsic links to the supernatural; but additionally, accentuating Lady Macbeth's transgressive desires to become liminal in her state. Thus, allowing her to commit the deed. 

Throughout the speech, Shakespeare repeats the imperative "Come" which could be suggestive of many interpretations - all of equal significance. Firstly, the repetition of this command, could be establishing a sense of immediacy and urgency to Lady Macbeth's language; thus, accentuating her desperation to be rid of her feminine, weak nature - making her able to fulfil her "black and deep desires." Secondly, it could alternatively be argued that in fact Lady Macbeth's repetition of this imperative throughout could be a means of aligning her with the supernatural, and more specifically the witches; with many critics regarding her as the fourth-witch. Much like the witches use of repetition in Act One, Scene Three: "Show me, show me" and "A drum, a drum", Lady Macbeth's repetition too composes a chant-like rhythm to her speech. Therefore, appearing to align her with the grotesque, excessive and manipulative nature of the witches; as well as presenting the 'bigger picture' of Shakespeare's portrayal of femininity within 'Macbeth' - with his two most dominant female roles forming subversions of gender stereotypes. 


Within this speech, Shakespeare establishes just how significantly distorted and corrupted Lady Macbeth's ambition truly is to commit the deed of murder, as she beckons "spirits that tend on mortal thought" to "unsex [her],/ And fill [her] from the crown to the toe top-full /Of direst cruelty". Within this particular extract, Shakespeare establishes that Lady Macbeth's ambition is not simply that which is engrained within all of human nature, but rather this is a transgressive violation of ambition, as she requests not only to be de-feminised, but dehumanised altogether - to make her of a liminal state, void of all guilt, morality and emotion. Thus, meaning that "no compunctious visiting of nature [shall]/ Shake [her] fell purpose." 

It is interesting to note within this speech the nature at which Lady Macbeth boldly understands the limitations of the female gender identity, and the way in which she is limited in the role as a female when faced with her over-ambitious desires. For example, the way in which Lady Macbeth demands the spirits to "come, to [her] woman's breasts,/ And take [her] milk for gall" appears to affirm this interpretation. Arguably, it appears that these transgressive desires are successfully fulfilled by the "spirits" too, with Lady Macbeth later stating that she would "dash...the brains out" of her own newborn infant "had [she] so sworn" has done to the act of murder. Therefore, it could be argued that Lady Macbeth's knowledge of her own limited gender identity makes Shakespeare's reversal of the expected gender roles even more effective, as Lady Macbeth appears to almost adopt an external perspective from patriarchy which allows her to attach her own role within the domestic sphere from a detached perspective - much like the isolated, over-seeing nature of the witches upon the "barren heath." 

Finally, it is also vital to note the way in which Lady Macbeth calls upon darkness as a means of concealment of her deepest desires: "Come, thick night,/ And pall thee in the dunnest smoke of Hell,/ That my keen knife see not the wound it makes..." Therefore, not only aligning Lady Macbeth's intrinsic link to the Gothic notions of darkness, disguise and concealment; but additionally, exposing that even after beckoning the spirit world to her aid, she still requires external forces of nature to help her literally 'get away with murder.' 

Public Vs Private: 


One of the most important features of Lady Macbeth's character is her definite distinction between her public and private persona's, which is beautifully summed up in her instruction to Macbeth to "look like th'innocent flower,/ But be the serpent under't."Shakespeare's decision to introduce to the audience the most corrupted, dark side to Lady Macbeth first is no mistake, but rather, by introducing this externalisation of her desires first, Shakespeare sets up the potential for a vast amount of dramatic irony which runs throughout many of the other scenes. For example, after witnessing the "unsex me here" soliloquy in which Lady Macbeth expresses her cravings for darkness to allow her "knife see not the wound it makes", both a modern and Jacobean audience strongly understand the inevitable decision Lady Macbeth has reached - she will murder Duncan, Macbeth will be King, and her gender identity will not limit her. In addition, in regards to context, Shakespeare further establishes Lady Macbeth as a villainous character - more specifically to a Jacobean audience - through his use of the imagery of the "serpent" lurking underneath "th'innocent flower", which links to the medal in which James I was awarded with after the discovery of Guy Fwakes Gun Powder plot. 

Within the following scene, Shakespeare's composition of this dramatic irony is strongly put into action, as Duncan not only expresses: "This castle hath a pleasant seat; the air,/ Nimbly and sweetly recommends itself / Unto our gentle senses", which the audience know is untrue, as from what we have previously heard from Lady Macbeth's speech the air is more accurately bursting with whisperings of murderous plots and ambitious desires. But additionally, the nature at which Duncan greets Lady Macbeth as his "fair and noble hostess....see, see: our honoured hostess." Thus, not only accentuating Duncan's naivety towards the true intentions of Lady Macbeth, but also Lady Macbeth's manipulative, cunning and duplicitous ability to appear "fair and noble" when in fact she forms the antithesis to this - subsequently accentuating the gothic notions of duality, concealment and disguise. 

A weakness? 

However, despite Lady Macbeth appearing to be an entirely "fiend-like queen", in fact she possesses a dominant weakness within her character - she cannot actually commit the murder herself - which makes all of her grotesque, macabre commands to Macbeth to "hide what the false heart doth know" less convincing...

A vital quote accentuating this would be: 

"Had he not resembled / My father as he slept, I had done't." 

Thus, accentuating that in fact Lady Macbeth possesses a very significant character flaw - her femininity - which appears to still not have been removed by the "spirits that tend on mortal thought." Despite her macabre imagery of "dash[ing]...the brains out" of her own infant, she still possesses strong emotional ties to the paternal role within her life, which makes her unable to commit the murder of Duncan. Therefore, composing the sense that although Lady Macbeth may appear like a "fiend-like queen" in the opening stages of the play, in fact as the play progresses she deteriorates significantly, until finally she becomes less powerful than Macbeth himself - "be innocent of knowledge, dearest chuck" - before descending into a state of insanity in her final appearance within Shakespeare's greatest tragedy. 

The Sleepwalking Scene - Act Five, Scene One

Lady Macbeth's final appearance within 'Macbeth' accentuates entirely her mentally 'unhinged' state, due to the incessant infestation of guilt preying on her mind, regarding the succession of murders she herself manipulated Macbeth to commit. Throughout this scene, it is vital to note the nature at which Lady Macbeth speaks in prose, which more specifically is only used by Shakespeare in order to accentuate the qualities of insanity within a specific character - for example King Lear, and Ophelia in 'Hamlet'. Notably, throughout the play, most of the characters speak in iambic pentameter, which evokes a strong sense of eloquence, control and sanity in their expression; however, Shakespeare's use of prose within this extract highlights the nature at which Lady Macbeth loses these qualities, as her language becomes free, excessive and uncontrolled. 

One vital aspect of this scene which is important to note is Lady Macbeth's sudden questioning: "The Thane of Fife had a wife: where is she now?" which accentuates two vital interpretations. Firstly, Lady Macbeth's questioning regarding the absence of the Thane of Fife's wife - meaning Lady Macduff - may form an externalisation of her guilt over the "savage slaughter" of Macduff's "wife and babes." However, it may be more evaluative to perceive this questioning as a rationalisation of Lady Macbeth's lack of knowledge and confusion regarding the murder of Macduff's family; as in fact, as Macbeth begins to assert more power over his wife, he simultaneously chooses not to confirm his murderous decisions with her anymore - making her unaware of the nature of Macbeth's actions. 

Furthermore, Shakespeare creates a striking repetition of the imagery of Lady Macbeth washing her hands, which can be regarded as a motif throughout the play. Notably, directly after the murder of Duncan, Lady Macbeth so boldly and emotionlessly states: "A little water clears us of this deed:/ How easy it is then!" which exposes her lack of morality as she so naively believes the mere act of washing her hands of the blood can clear her of the guilt of murder. However, predictably, this guilt swiftly catches up with her, as within this final scene before committing her own suicide she states: "What, will these hands ne'er be clean?" as well as "what's done,/ Cannot be undone." Thus, accentuating the cyclical structure to this vital motif, and accentuating the inevitability of cause and effect in which Shakespeare so intricately engrains throughout the plot - "unnatural deeds, do breed unnatural troubles."

A2 Literature: Bloody Chamber Symbols

Angela Carter's 'The Bloody Chamber' story is absolutely bursting with symbolism, which can be used in a vast spectrum of essays, and linked perfectly to the Gothic genre overall. Within this blog, I am going to analyse each of the key symbols, and their relation to the Gothic genre overall.

The Bloody Chamber:

Key Quotes - 

• "Little museum of perversity"
• "subterranean privacy"
• "The corridor wound downwards...the heavy hangings on the wall muffled my footsteps, even my breathing."
• "the door of hell"
• "An armful of...lilies...glazed with a sombre Chinese red."
• "Absolute darkness. And, about me, the instruments of torture." 
• "The walls of this stark torture chamber were naked rock; they gleamed as if they were sweating with fright."
• "Then, for some reason...the metal shell of the Iron Maiden emitted a ghostly twang...she was pierced, not by one but by a hundred spikes...so full of blood."

What does the "bloody chamber" represent? Alternative Interpretations (AO3)

• The "stark torture chamber" of the Marquis could represent the murderous, dark, hostile heart of men, a place where dark desires are entombed - a place where sex and power bring equal pleasure. 
• The Marquis' "little museum of perversity" could alternatively be viewed as a representation of female identity. By entering the chamber, the female narrator learns her fate through that of the other "embalmed" women. 
• Carter's feminist critique of the wider theme of the 'male gaze' - Within the bloody chamber, Carter, through her use of gruesome, macabre imagery accentuates the nature at which the Marquis maintains the bodies of his deceased/murdered wives - turning them into his own range of pornographic images. Thus, accentuating the ultimate purpose of the female within patriarchy: to remain an object of desire for the powerful male, even in death. 

How does this symbol relate to the Gothic genre? (AO4) 

• Gothic setting = "Absolute darkness. And, about me, the instruments of mutilation." Carter utilises the colour scheme of red/black/white, in order to accentuate the recurring theme of corruption of innocence, in association with love/lust/sex/death. Recurring motif of blood is repeated, creating connotations with the macabre, violence and death. Stark, blunt imagery of the "embalmed" bride, the "disembodied...skull" and the "Iron Maiden." 
• Emotions of horror/terror = Even prior to the discovery of the bloody chamber, Carter evokes a strong sense of "anticipation" and terror, as the narrator travels into the depths of the castle, in order to reach the "subterranean privacy" of the Marquis. Furthermore, Carter's explicit descriptions of the deceased wives of the Marquis create a domineering sense of horror for the reader, as they witness the "dead lips smil[ing]"and the entrapped Romanian Countess pierced with "not one but by a hundred spikes." As well as the strong sense of shock when the "pool of blood"pours around the feet of the narrator, causing her to drop the key in horror - "so full of blood."
• Atmospheres of imprisonment/entrapment = Carter's use of language when accentuating the way in which the "footsteps, even [the] breathing" of the narrator become "muffled" and suffocated by the depths of the castle creates a strong sense of entrapment for the reader; as they witness the incarceration of the narrator within the dark heart of the Marquis. 
• Foreboding = Instantly upon entering the bloody chamber, Carter creates a strong sense of foreboding through her inclusion of the phrase: "There is a striking resemblance between the act of love and the ministrations of a torturer." The instinctive connection between love/lust and torture ultimately will lead to death. Additionally, when considering Carter's even earlier use of foreboding with the hundreds of "lilies" surrounding the bed of the narrator, the reader gains the sense that death, love and sex will once again become combined within this engulfing chamber. 
• Life & Death = The bloody chamber itself represents the fusion of both life and death, as Carter creates the distinction between the deceased, "embalmed" wives of the Marquis, and the living, breathing narrator. However, Carter creates the sense that under the control of the Marquis it will not be this way for long; the narrator has been "invited to join this gallery of beautiful women" and will fulfil her prophecy. 
• Transgression = The narrator can be seen as committing an act of transgression within her entrance to "the bloody chamber." Arguably, the narrator transgresses not only into the dark, grotesque heart of the Marquis, but additionally into a setting evoking an overpowering atmosphere of death and decay. The narrator could be seen as being enlightened - hence the later addition of the "heart-shaped stain" begin transferred to her forehead - due to her pursuit/transgression into the masculine world, she can be seen as transgressing the boundaries between childhood/womanhood as she is thrown into the complexity of these "grown up games"of lust/sex/death. 

Blood: 

Key Quotes - 

• "Crimson water swirled down the basin but, as if they key itself were hurt, the bloody token stuck." 
• "The heart shaped stain had transferred itself to my forehead...the key gleamed freshly as if it had just been cut." 
• "No paint nor powder, no matter how thick or white, can mask that red mark on my forehead." 
• "extraordinarily precious slit throat"
• "bright as arterial blood"
• "I had bled." 
• "bloody sheets" 
• "I dropped the key...into the forming pool of her blood." 
• "the more I scrubbed the key, the more vivid the stain grew."

What does blood represent? Alternative Interpretations (AO3)

• An ominous symbol of sin/guilt - Carter's use of the motif of blood can be predominantly seen in the supernatural transaction of the "heart-shaped stain" to the forehead of the female narrator; which forms a permanent reminder of her pursuit of forbidden knowledge and enlightenment in the masculine world. 
• Violence against the female - The imagery of blood is strongly repeated in association with the female, for example, after experiencing from a detached perspective the "one-sided struggle", the narrator simply states "I had bled" - suggesting that she is a victim to the violent, selfish passions of the Marquis. Additionally, the imagery of the ruby choker being like "an extraordinarily precious slit throat" biting into the neck of the female narrator associates her strongly with the motif of blood, as she appears to be almost liminal in her appearance, fulfilling the Marquis' necrophilic desires - as she appears murdered/dead in her appearance. Furthermore, the "pool of blood" pouring from the "Iron Maiden" strongly accentuates the motif of blood in connection with the violence against women, accentuating the Marquis' grotesque means of keeping his wives. 
• Menstrual Cycle - An interpretation to be considered would be the motif of blood in association with the menstrual cycle, and the transgression from girlhood to womanhood in regards to the female narrator. However, this could appear to be the weakest of all the interpretations. 
• Corruption of Innocence/Virginity - Throughout the story, Carter predominantly accentuates the colour scheme of red against white, such as the juxtaposing imagery of the "armful of...lilies...glazed with a sombre Chinese red" - suggesting the corruption of virginity/innocence of all his wives prior to entering the chamber. Additionally, the third person evaluation the narrator inflicts on herself accentuates the contrast of the "white dress" and the "flashing crimson jewels" biting into her throat - suggesting the inevitable "potentiality for corruption." 

How does this symbol relate to the Gothic genre? (AO4)

• Corruption of Innocence - Carter's use of symbolic colour within her settings, highlights the contrast of white & red - tarnishing of innocence through the corruption of lust/sex/violence. 
• Horror/Terror - The motif of blood creates strong connotations with horror/terror; more specifically, the "pool of blood" which creates a strong sense of horror for both narrator and reader, as they witness the grotesque imagery of the Romanian Countess' blood swarming around the key and the feet of the narrator. 
• Violence/Death - The imagery of blood throughout 'The Bloody Chamber' accentuates the recurring gothic notions of violence/death, as this motif recurs strongly when expressing symbols of violence such as the ruby choker, the entrapped wife within the "iron maiden" as well as the corrupted symbol of the "crimson...key" - which all ultimately lead to the outcome of death, or foreshadow the fate of the narrator. 
• The Macabre - Blood can be intrinsically linked to this vital Gothic concept, as it accentuates the grotesque threat, or fear of causing death. Through Carter's use of foreboding in regards to the ruby choker, she creates a sense of the macabre, as the reader views this symbol as a key hint of the inevitable fate of the female narrator. Justine's recognition of her "rare talent for corruption" when wearing this "cruel necklace" will ultimately catalyse her downfall, pushing her to pursue the forbidden knowledge with the confidence that she has a "potentiality" which will protect her from harm. 
• Taboo - The imagery of blood holds associations with murder, a vital taboo which remains a frowned upon within society even today. 

The Ruby Choker:

Key Quotes - 

• "His wedding gift, clasped round my throat. A choker of rubies, two inches wide, like an extraordinarily precious slit throat."
• "how much that cruel necklace became me."
• "the white dress; the frail child within it; and the flashing crimson jewels round her throat, bright as arterial blood." 
• "He kissed those blazing rubies, too. He kissed them before he kissed my mouth." 
• "On the dressing table, coiled like a snake about to strike, lay the ruby choker." 

What does the "choker of rubies" represent? Alternative Interpretations (AO3)

• Objectification of the female - The ruby choker portrays the female narrator as a possession of the Marquis, or even an object displaying the beauty of the "choker of rubies" itself. Notably, Carter expresses the fact that the Marquis "kissed those blazing rubies, too. He kissed them before he kissed my mouth" which accentuates the nature at which he appears to not regard the narrator as valuable, but rather the wealth that she displays around her throat - portraying her as an object displaying the symbol of corruption. 
• Marquis' necrophiliac desires - The ruby choker, being described like an "extraordinarily precious slit throat" could accentuate the necrophiliac desires of the Marquis; notably, if we look at the previous quote shown in the point above, the Marquis appears to gain a sense of pleasure from the appearance of the narrator as a murdered figure. Additionally, the fact that the narrator expresses "he would not let me take off my ruby choker" further solidifies this interpretation.  
• Wealth & Corruption -Notably, the narrator is from a much lower social class from the narrator, as she accentuates the way her mother "beggared herself for love";however, the ruby choker emphasises the corruption of this lower class status of the narrator, she is corrupted by the wealth and temptation of the patriarchal male - causing her later to see a "rare talent for corruption" and "potentiality" in herself which she had never experienced before wearing such luxuries.
• Social Conditioning - Notably, Carter exposes to the reader the theme of tradition in relation to the ruby choker, forming a "memory of the wound" for the Marquis' grandmother as she was saved from decapitation in the Great Terror; thus, accentuating the wider theme of the social conditioning of males, and their indoctrination to treat the female as a possession/object of wealth. 

How does this symbol relate to the Gothic genre? (AO4)

• Lust/Violence/Death  
• The Liminal 
• Oppositions e.g Life/Death  
• The Revenant 

Mirrors:

Key Quotes - 

• "I saw him watching me in the gilded mirrors with the assessing eye of a connoisseur inspecting horseflesh, or even...cuts on the slab."
• "I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire...I sensed in myself a potentiality for corruption that took my breath away." 
• "Our bed...surrounded by so many mirrors! Mirrors on all the walls, in stately frames of contorted gold..."
• "A dozen husbands impaled a dozen brides."
• "I seemed reborn in his unreflective eyes, reborn in unfamiliar shapes"
• "(I swear to you, I had never been vain until I met him.)" 

What do the mirrors represent? Alternative Interpretations (AO3)

• Marquis' control & dominance in his own environment - The use of mirrors within the bedroom of the narrator accentuate the Marquis' domineering sense of control, as well as his associations with sexual voyeurism - proving the way in which he gains more pleasure from watching the act of intercourse, as opposed to actually being a part it with the narrator. Additionally, the mirrors embody the Marquis' objectification of the female within his environment; thus, once again affirming his sense of control over the passive narrator - victimising her as an object under the influence of his scopophilic desires. 
• The Male Gaze - The male gaze refers to the theory of the male observing the female as an object to which he can either do something for, or do something to in order to assert his power. The symbol of the mirrors allows the Marquis to violently observe the female narrator with a "weary appetite", which once again links to the embodiment of objectification throughout the story as a whole. 

How does this symbol relate to the Gothic genre? (AO4)

• The Sublime 
• Otherness 

Lilies:

Key Quotes - 

• "...filled my bedroom with lilies until it looked like an embalming parlour."
• "The lilies I always associate with him; that are white. And stain you."
• "An armful of...lilies...glazed with a sombre Chinese red." 
• "strange, ominous calm of a sentient vegetable, like one of those cobra-headed, funeral lilies"
• "more lilies than I'd ever seen before"

What could the lilies represent? Alternative Interpretations (AO3)

• Foreboding symbol of death - Carter accentuates the way in which the Marquis "filled [the] bedroom with lilies until it looked like an embalming parlour" which strongly associates the themes of sex/lust with death, whether this be the metaphorical death of female independence, as she will become corrupted by the male on the marital bed; or whether this represents the literal death of the female due to the toils of childbirth or domestic violence. 
• Female Innocence/Purity/Virginity - As mentioned above, the Marquis' use of the lilies to "greet his young bride" could be seen as a symbol of her innocence, purity and virginity in which he so lusts for in relation to the setting of the bedroom. The contrast of the white lilies, against the dark, black matrimonial bed with the luxurious "blood red" rugs on the floor, contrast the corruptive environment of the Marquis' home, with the addition of the lilies - representing the narrator. 
• The Marquis - "the lilies I always associate with him; that are white. And stain you." The heavy, "waxen" appearance of the lilies appears to be intrinsically linked to the "mask" like features of the Marquis, as well as his overpowering "opulent male scent" which mimics the strong, suffocating odour of the lilies; concealing the scent of death filling the castle, as well as representing the concealed desires of the Marquis. 

How does this symbol relate to the Gothic genre? (AO4)

• Foreboding  
• The Sublime  
• Oppositions e.g Love/Violence, Sex/Death 

Father's Gun:

Key Quotes - 

• "Now, without a moment's hesitation, she raised my father's gun; took aim and put a single, irreproachable bullet through my husband's head."

What does the "father's gun" represent? Alternative Interpretations (AO3)

• Familial Bonds/Paternal Protection - Even in death, the paternal figure serves as a protecting spirit in the form of the murder weapon; he protects his wife and daughter from the harm of the predatory aristocrat. 
• Female Strength - The abrupt, sudden arrival of the "eagle-featured, indomitable mother" with the "father's gun" in her hand accentuates female liberation, as Carter entirely subverts the conventional gender stereotypes through the imagery of the mother defying the traditions/patriarchal conditioning of the Marquis - as she puts a "single, irreproachable bullet" through his head. Thus, further accentuating Carter's feminist beliefs that the female needs to rise from the burden of patriarchy, and take control of her own fate, as opposed to remain a victim to the oppression of the male. 
• Carter's subversion of 'Bluebeard' - In the conclusion of the original tale, 'Bluebeard', the two brothers of the young bride return to save her from decapitation; which appears to perpetuate the conventional fairytale stereotypes of the damsel in distress and the powerful male. However, within Carter's distortion of the fairytale, she entirely subverts the conventional gender roles, presenting the strength of inter-female bonds against the patriarchal male. 
• Death of Social Order/Patriarchy - The mother's murder of the Marquis could be viewed as the deterioration of social order/patriarchy; notably, the modern day warfare of the "gun" overpowers entirely the traditional sword passed through the generations of the Marquis' family - proving the power of the modern world in contrast to the traditions of patriarchy, much like the contrast of the Mother and the stunned "puppet-master" that is the Marquis. 

How does this symbol relate to the Gothic genre? (AO4)

• Oppositions e.g male/female  
• Taboos  
• The Revenant 

Pentacle: 

Key Quotes - 

• "I opened the lid of the piano; perhaps I thought my own particular magic might help me, now, that I could create a pentacle out of music that would keep me from harm for, if my music had first ensnared him, then might it not also give me the power to free myself from him?"

What could the "pentacle" represent? Alternative Interpretations (AO3)

• Pagan symbol of protection - Carter utilises this symbol as a means of protection evil; however, the fact the narrator seeks to create a pentacle of music highlights how she believes returning back to her previous state of innocence and virginity will allow her to free herself from the corruption of the Marquis. The narrator seeks protection from her past life, like how she turns to her mother for help instinctively upon realising her fate. 
• 'Untapped potential' - In regards to the collection as a whole, Carter utilises this symbol in other stories - such as 'The Lady of the House of Love' - in order to accentuate the 'untapped' potential that virginity obtains, which forms a "pentacle of...virginity" to keep the innocent from the corruption of irrationality and sexuality.