Describe the gothic elements in the canterville ghost
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As the mariners started their sail, the Sun looked glorious. The ship moved fast towards south and then came mist and snow. The entire crew felt terribly cold. The night was foggy. The Albatross started following them and the old mariner shot it dead. The next morning the Sun rose bright. It was glorious because, its warmth was a much awaited relief for the sailors from cold. The sailors were now happy that the bird of ill omen had been killed.
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In “The Canterville Ghost”, Oscar Wilde parodies a number of conventions that characterize Gothic novels popular at the turn of the 19th century. By employing recognizable characteristics, Wilde is better able to transform what appears to be a traditional gothic tale into a farce. He begins by establishing the setting of a large castle whose previous inhabitant leaves because of a ghost’s haunting.
Mr. Otis, an American minister, possesses pragmatism that staunchly opposes the superstition of Lord Canterville. In fact, the pragmatism of Mr. Otis and his family allows Wilde an outlet to mock Americans’ objective perspective. The rural castle recalls similar Gothic settings of The Castle of Otranto and Northanger Abbey, among other popular Gothic novels. Many Gothic novels, including The Monk and The Italian, feature a morally reprehensible religious character.
In “The Canterville Ghost”, Mr. Otis fulfills this religious role, but instead of moral weakness, he displays a lack of understanding of cultural customs and history.
His insensitivity is evident in his unwillingness to take Lord Canterville’s word about his haunted castle and in his attempt to return Virginia’s necklace to the family. He becomes a bumbling religious figure imprisoned by his pragmatism. He does not scream upon seeing the ghost; he offers him Tammany Rising Sun Lubricator. In “The Canterville Ghost”, Oscar Wilde jettisons the terrifying aspect of the sublime in favor of a supernatural character deserving of pity.
The ghost never horrifies or frightens the family; instead, he appears to run from them. Their lack of understanding of his role renders him a pathetic character, instead of the murderer he himself admits to being.
The ghost’s rather meager existence is compounded by the narrator’s close third-person narration (which is debatable after the interjection of first person in section four), which brings the reader inside the supposed villain’s mind; his wish for death removes most ill feeling toward him.
Wilde relies heavily on the conventions of Gothic literature, including setting, stereotypical characters, and supernatural elements to transform his ghostly story into a farce in which the villain becomes victim.
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