Editing Gothic fiction (section)

===Second generation or ''Jüngere Romantik''===
The poetry, romantic adventures, and character of [[George Gordon Byron, 6th Baron Byron|Lord Byron]]—characterized by his spurned lover [[Lady Caroline Lamb]] as "mad, bad and dangerous to know"—were another inspiration for the Gothic novel, providing the archetype of the [[Byronic hero]]. For example, Byron is the title character in Lady Caroline's Gothic novel ''[[Glenarvon]]'' (1816).

[[File:The Vampyre New Monthly Magazine 1819.jpg|thumb|upright=0.8|"[[The Vampyre]]" by [[John William Polidori]] published in ''[[The New Monthly Magazine]]'', 1 April 1819.]]
Byron was also the host of the celebrated ghost-story competition involving himself, [[Percy Bysshe Shelley]], [[Mary Shelley]], and [[John William Polidori]] at the Villa Diodati on the banks of [[Lake Geneva]] in the summer of 1816. This occasion was productive of both Mary Shelley's ''[[Frankenstein|Frankenstein, or, The Modern Prometheus]]'' (1818), and Polidori's short story "[[The Vampyre]]" (1819), featuring the Byronic [[Lord Ruthven (vampire)|Lord Ruthven]]. "The Vampyre" has been accounted by cultural critic [[Christopher Frayling]] as one of the most influential works of fiction ever written and spawned a craze for [[Vampire literature|vampire fiction]] and theatre (and, latterly, film) that has not ceased to this day.<ref>{{Cite book |last=Frayling | first =Christopher | author-link =Christopher Frayling | title =Vampyres: Lord Byron to Count Dracula | publisher =Faber | date =1992 | orig-year=1978 |location=London |isbn=978-0-571-16792-0 |url =https://archive.org/details/isbn_9780571167920}}</ref> Although clearly influenced by the Gothic tradition, Mary Shelley's novel is often considered the first science fiction novel, despite the novel's lack of any scientific explanation for the animation of [[Frankenstein's monster]] and the focus instead on the [[moral dilemma]]s and consequences of such a creation.

[[John Keats]]' ''[[La Belle Dame sans Merci]]'' (1819) and ''[[Isabella, or the Pot of Basil]]'' (1820) feature mysteriously fey ladies.<ref name=skarda>Skarda and Jaffe (1981), pp. 33–35 and 132–133.</ref> In the latter poem, the names of the characters, the dream visions, and the macabre physical details are influenced by the novels of premiere Gothicist Ann Radcliffe.<ref name=skarda/>

Although ushering in the historical novel, and turning popularity away from Gothic fiction, [[Walter Scott]] frequently employed Gothic elements in his novels and poetry.<ref>{{Cite web|author=Freye, Walter|url=https://archive.org/details/cu31924013546043/mode/2up|title=The influence of "Gothic" literature on Sir Walter Scott |date=1902|access-date=May 4, 2022}}</ref> Scott drew upon oral [[folklore]], fireside tales, and ancient superstitions, often juxtaposing rationality and the supernatural. Novels such as ''[[The Bride of Lammermoor]]'' (1819), in which the characters' fates are decided by superstition and [[prophecy]], or the poem ''[[Marmion (poem)|Marmion]]'' (1808), in which a nun is walled alive inside a convent, illustrate Scott's influence and use of Gothic themes.<ref>{{Cite web|author=Rose Miller, Emma|url=http://www.wreview.org/attachments/article/346/Fact,%20Fiction,%20or%20Fantasy_Scott%E2%80%99s%20Historical%20Project%20and%20The%20Bride%20of%20Lammermoor.pdf |archive-url=https://web.archive.org/web/20220521104654/http://www.wreview.org/attachments/article/346/Fact,%20Fiction,%20or%20Fantasy_Scott%E2%80%99s%20Historical%20Project%20and%20The%20Bride%20of%20Lammermoor.pdf |archive-date=2022-05-21 |url-status=live|title=Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor |date=2019|access-date=May 1, 2022}}</ref><ref>{{Cite web|author=Joe Walker, Grady|url=https://core.ac.uk/download/pdf/215281992.pdf |archive-url=https://web.archive.org/web/20220521104724/https://core.ac.uk/download/pdf/215281992.pdf |archive-date=2022-05-21 |url-status=live|title=Scott's Refinement of The Gothic In Certain of The Waverley Novels |date=1957|access-date=May 4, 2022}}</ref>

A late example of a traditional Gothic novel is ''[[Melmoth the Wanderer]]'' (1820) by [[Charles Maturin]], which combines themes of [[anti-Catholicism]] with an [[Outcast (person)|outcast]] Byronic hero.<ref>Varma 1986</ref> [[Jane C. Loudon]]'s ''[[The Mummy!]]'' (1827) features standard Gothic motifs, characters, and plot, but with one significant twist; it is set in the twenty-second century and speculates on fantastic scientific developments that might have occurred three hundred years in the future, making it and ''Frankenstein'' among the earliest examples of the science fiction genre developing from Gothic traditions.<ref name="Hopkins">[http://shura.shu.ac.uk/8710/3/Hopkins_Loudon_Mummy.pdf Lisa Hopkins, "Jane C. Loudon's The Mummy!: Mary Shelley Meets George Orwell, and They Go in a Balloon to Egypt", in Cardiff Corvey: ''Reading the Romantic Text'', 10 (June 2003)]. Cf.ac.uk (25 January 2006). Retrieved on 18 September 2018.</ref>

During two decades, the most famous author of Gothic literature in Germany was the polymath [[E. T. A. Hoffmann]]. Lewis's ''[[The Monk]]'' influenced and even mentioned it in his novel ''[[The Devil's Elixirs]]'' (1815). The novel explores the motive of [[Doppelgänger]], a term coined by another German author and supporter of Hoffmann, [[Jean Paul|Jean-Paul]], in his humorous novel ''[[Siebenkäs]]'' (1796–1797). He also wrote an opera based on [[Friedrich de la Motte Fouqué]]'s Gothic story ''[[Undine (novella)|Undine]]'' (1816), for which de la Motte Fouqué wrote the libretto.<ref>Hogle, p. 105–122.</ref> Aside from Hoffmann and de la Motte Fouqué, three other important authors from the era were [[Joseph Freiherr von Eichendorff]] (''[[The Marble Statue]]'', 1818), [[Ludwig Achim von Arnim]] (''Die Majoratsherren'', 1819), and [[Adelbert von Chamisso]] (''Peter Schlemihls wundersame Geschichte'', 1814).<ref>Cusack, Barry, p. 91, pp. 118–123.</ref> After them, [[Wilhelm Meinhold]] wrote ''[[The Amber Witch]]'' (1838) and ''[[Sidonia von Bork]]'' (1847).

In Spain, the priest [[Pascual Pérez Rodríguez]] was the most diligent novelist in the Gothic way, closely aligned to the supernatural explained by Ann Radcliffe.<ref>Aldana, Xavier, pp. 10–17</ref> At the same time, the poet [[José de Espronceda]] published ''[[El estudiante de Salamanca|The Student of Salamanca]]'' (1837–1840), a narrative poem that presents a horrid variation on the [[Don Juan]] legend.

[[File:Вий.jpg|thumb|left|upright|Viy, lord of the underworld, from the [[Viy (story)|story of the same name]] by Gogol]]
In Russia, authors of the Romantic era include [[Antony Pogorelsky]] (penname of Alexey Alexeyevich Perovsky), [[Orest Somov]], [[Oleksa Storozhenko]],<ref>Krys Svitlana, "[https://journals.ku.edu/index.php/folklorica/article/view/4211 Folklorism in Ukrainian Gotho-Romantic Prose: Oleksa Storozhenko's Tale About Devil in Love (1861).]" ''Folklorica: Journal of the Slavic and East European Folklore Association'', 16 (2011), pp. 117–138.</ref> [[Alexandr Pushkin]], [[Nikolai Polevoy|Nikolai Alekseevich Polevoy]], [[Mikhail Lermontov]] (for his work ''Stuss''), and [[Alexander Bestuzhev-Marlinsky]].<ref name="Horner (2002), pp. 59–82">Horner (2002). ''Neil Cornwell: European Gothic and the 19th-century Gothic literature'', pp. 59–82.</ref> Pushkin is particularly important, as his 1833 short story ''[[The Queen of Spades (story)|The Queen of Spades]]'' was so popular that it was adapted into operas and later films by Russian and foreign artists. Some parts of Mikhail Yuryevich Lermontov's ''[[A Hero of Our Time]]'' (1840) are also considered to belong to the Gothic genre, but they lack the supernatural elements of other Russian Gothic stories.

The following poems are also now considered to belong to the Gothic genre: Meshchevskiy's "Lila", Katenin's "Olga", [[Alexander Pushkin|Pushkin]]'s "The Bridegroom", [[Pyotr Pletnyov|Pletnev]]'s "The Gravedigger" and [[Mikhail Lermontov|Lermontov]]'s ''[[Demon (poem)|Demon]]'' (1829–1839).<ref>Cornwell (1999). Michael Pursglove: Does Russian gothic verse exist, pp. 83–102.</ref>

The key author of the transition from Romanticism to Realism, [[Nikolai Vasilievich Gogol]], who was also one of the most important authors of Romanticism, produced a number of works that qualify as Gothic fiction. Each of his three short story collections features a number of stories that fall within the Gothic genre or contain Gothic elements. They include "[[St. John's Eve (short story)|Saint John's Eve]]" and "[[A Terrible Vengeance]]" from ''[[Evenings on a Farm Near Dikanka]]'' (1831–1832), "[[The Portrait (short story)|The Portrait]]" from ''Arabesques'' (1835), and "[[Viy (story)|Viy]]" from [[Mirgorod (short story collection)|''Mirgorod'']] (1835). While all are well known, the latter is probably the most famous, having inspired at least eight film adaptations (two now considered lost), one animated film, two documentaries, and a video game. Gogol's work differs from Western European Gothic fiction, as his cultural influences drew on [[Ukrainian folklore]], the [[Cossacks|Cossack]] lifestyle, and, as a religious man, [[History of the Russian Orthodox Church|Orthodox Christianity]].<ref>Simpson, c. p. 21.</ref><ref>Cornwell (1999). Neil Cornwell, pp. 189–234.</ref>

Other relevant authors of this era include [[Vladimir Fyodorovich Odoevsky]] (''The Living Corpse'', written 1838, published 1844, ''The Ghost'', ''The Sylphide'', as well as short stories), [[Count Aleksey Konstantinovich Tolstoy]] (''The Family of the Vourdalak'', 1839, and ''The Vampire'', 1841), [[Mikhail Zagoskin]] (''Unexpected Guests''), [[Józef Sękowski]]/[[Osip Senkovsky]] (''Antar''), and [[Yevgeny Baratynsky]] (''The Ring'').<ref name="Horner (2002), pp. 59–82" />