The Liminal as Gothic concept

Gothic doorway

Liminality is defined as the threshold in between previous constructs of identity, society and time and the future connotations they now behold. A common concept used in Gothic literature, the liminal utilises plot and character to challenge and subvert the boundaries of what is accepted, unknown and blurred. The liminal can take many forms, from the most obvious borderlines to disputed territory and No Man’s land. The Gothic genre itself can be seen as in the realm of the liminal, a reversal of the Enlightenment and marginalised by those who disputed the purpose of these novels. Considered unrepresentative, these novels placed importance on the unexplainable and irrational, placing fear in the forefront of people’s minds.

Michel Foucault, during the second half of the 18^th Century noted that the time was strangely haunted by a fear of the unknown, especially unknown spaces and the terrifying reflection of this in the minds of man. This fear stemmed from the prevention of visibility; significantly sight but also extending further to include the pursuit of knowledge and reason.  He further suggests that the Enlightenment - or Age of Reason - sought to destroy these unknown spaces and replace with absolute knowledge and reason. 

Location

     

Our Lady of Assumption Convent, 1933 

Location within the Gothic is paramount for the creation of an unnatural and eerie atmosphere. The stereotypical gothic setting is usually centred around a large castle or mansion placed in a remote location. Ann Radcliffe’s The Italian deploys the convent itself as a place of liminality as Ellena banishes herself there to regain clarity and decide where to proceed. This location is known for being the place of serenity and peace. In this instance however it can be seen to become the space of the unwanted, those who are lost without vision or clarity. Vivaldi’s family are still opposed to their nuptials therefore she is without anyone to vouch for her status in society or her virtue, therefore her state of liminality may never end.

Borderlines       

Horace Walpole, noted for the initial gothic text The Castle of Otranto, can be seen as first gothic writer, employing typical gothic concepts: supernatural, pathetic fallacy and transgression. Throughout this text there are significant examples of the liminal - some obvious and others which are obscure. The most literal representation, used in almost every gothic text, is the significance of doors and the doorway. It embodies the exact definition of the liminal as the physical boundary line between the past and the future, the comfortable and the unknown and security and the potential for evil. The doorway is the realm of the other, separating these different spheres but also acting as a point of contact between them.

Despite this very clear divide, doors are deceptive and ambiguous and this can be seen in the form of locked doors. A locked door has the power to induce as much fear as any other gothic feature; forcing entrapment isolating the victim and leaving them powerless against the forces raging beyond the door. In Walpole’s Otranto, Matilda escapes from Manfred’s control and releases Theodore from the cell in which he was placed by Manfred himself. In this case a doorway can be seen as an act of transgression, instigating a turning point in the plot leading towards the acquisition of truth and the overthrowing of the menacing character. The opening of the cell is vital for the resolution of the plot as Theodore is the rightful heir to the Castle and without his release, Manfred could never be overthrown. Walpole explores the inherent falsity of authentic and undisputed origins through his representation of the untrustworthy character of Manfred.

Secret doors also have an interesting and equally liberating quality attached to them. There is an excitement surrounding their unknown presence but also by crossing the physical boundary the character is able to remove themselves from the evil within and escape. Isabella is a prime example of this as she uses a secret passage way, 'shut the trap door after you...she descended the steps precipitately,' (p.29) to leave castle and escape from her forced marriage to Manfred. 

Character

As well as viewing doors as representations of liminality, it is possible to see a complete character as an embodiment of what is means to be liminal. Radcliffe’s The Italian sees the character of Ellena become stuck in a perpetual state of liminality, existing without confirmation. On the death of Aunt Signora Bianchi, she finds herself an orphan in 18^th century Italy without a husband or power over her own person. This text is strategically placed in the 1750’s when the Marriage Act had just been enacted stating that marriage had to be made legal with a formal ceremony. If Ellena had married Vivaldi before her Aunts death, whilst technically becoming his ‘property’, she would have been entitled to his protection and security.

The Monster - Shelley's Frankenstein

Furthermore, Mary Shelley’s Frankenstein depicts the Monster as a character who is lost in a state of liminality. Created by Victor Frankenstein for the purposes of subverting the natural methods of childbearing, the Monster is outcast from society and left to fend for himself due to his visual aesthetic. He escapes from his laboratory and ‘its hideous guest’(p.493) refusing to engage and accept the Monster as his obligation.  Victors reaction to the monster initiates a haunting presence within the novel. The Monster becomes an inescapable, ever present figure, performing atrocious acts as a methods of forcing Victor to take responsibility for his existence. It is only once the Monster commits several murders that Victor is left with little choice but to confront and face the reality of the situation. His arrogance and disgust frustrates the Monster causing his to defend his existence, ‘hear me, before you give vent to your hatred on my devoted head…I am benevolent and good, misery made me fiend.’(pp.93-94) He understands that Victor hates him because of his actions however had Victor guided him as his creator, rather than hating his appearance, then the events of the novel may have been different, ‘Have I not suffered enough.’(p.94)

The theories of Giles Guattari and Felix Deleuze can be applied here as their discussion on what it means to be human is explored through the example of a ‘monster’. They note that it is only through recognising something as different that you can then arbitrarily attach characteristics of terror to create a monster. Victor’s creation is formed out of dead bodies and moulded into human form, if we apply this idea, it can be suggested that Victor’s reaction is the sole reasoning for the perception of the Monster throughout the novel. How is it possible that a character that is made entirely of human components is ‘monstrous’ unless we apply those attributes ourselves? 

Scene from The Castle of Otranto

The eponymous 'The Castle of Otranto' can be seen as a liminal location, character and boundary line as the question as to who has rightful ownership is one that plagues the novel. It is a reasonable implication to view the castle as the main protagonist as much of the narrative stems from the castle itself. Much like most gothic settings, the Castle is situated within a medieval location, usually eastern European but in this case southern Italy. Critics have suggested that this remote and unexpected medieval location was deliberately chosen to establish some distance between the story and the intended audience. Thus the outcome of such distance provides the liminal quality. The ambivalence surrounding the correct and rightful heir of the Castle is at its heart liminal feature as the fear of assigning the castles ownership to the wrong character is pivotal for the plot of the text. Therefore, the distance between story and audience can be seen as a deliberate act of liminality. The unknown space between the story and the audience is intentionally blurred to encourage and allow for the fears of the time. The space is occupied with anxiety and confusion.

 Bibliography

Radcliffe, Ann, The Italian, (Oxford: Oxford University Press, 2008)

Shelly, Mary, and Johanna M Smith, Frankenstein,2nd edn, (Basingstoke: Palgrave Macmillan, 2000) 

Walpole, Horace, The Castle of Otranto (Oxford: Oxford University Press, 2014)