section_path: 19th-century novels/Romanticism
section_name: Romanticism
paragraph_text: Romanticism
  
  The very word romanticism is connected to the idea of romance, and the romance genre experienced a revival, at the end of the 18th century, with gothic fiction, that began in 1764 with Horace Walpole 's The Castle of Otranto, subtitled (in its second edition) "A Gothic Story". Subsequent important gothic works are Ann Radcliffe 's The Mysteries of Udolpho (1794) and 'Monk' Lewis 's The Monk (1795).
  
  The new romances challenged the idea that the novel involved a realistic depiction of life, and destabilized the difference the critics had been trying to establish, between serious classical art and popular fiction. Gothic romances exploited the grotesque, and some critics thought that their subject matter deserved less credit than the worst medieval tales of Arthurian knighthood.
  
  The authors of this new type of fiction were accused of exploiting all available topics to thrill, arouse, or horrify their audience. These new romantic novelists, however, claimed that they were exploring the entire realm of fictionality. And psychological interpreters, in the early 19th century, read these works as encounters with the deeper hidden truth of the human imagination: this included sexuality, anxieties, and insatiable desires. Under such readings, novels were described as exploring deeper human motives, and it was suggested that such artistic freedom would reveal what had not previously been openly visible.
  
  The romances of de Sade, Les 120 Journées de Sodome (1785), Poe 's Tales of the Grotesque and Arabesque (1840), Mary Shelley, Frankenstein (1818), and E.T.A. Hoffmann, Die Elixiere des Teufels (1815), would later attract 20th-century psychoanalysts and supply the images for 20th- and 21st-century horror films, love romances, fantasy novels, role-playing computer games, and the surrealists.
  
  The historical romance was also important at this time. But, while earlier writers of these romances paid little attention to historical reality, Walter Scott 's historical novel Waverley (1814) broke with this tradition, and he invented "the true historical novel". At the same time he was influenced by gothic romance, and had collaborated in 1801 with 'Monk' Lewis on Tales of Wonder. With his Waverley novels Scott "hoped to do for the Scottish border" what Goethe and other German poets "had done for the Middle Ages, "and make its past live again in modern romance". Scott's novels "are in the mode he himself defined as romance, 'the interest of which turns upon marvelous and uncommon incidents ' ". He used his imagination to re-evaluate history by rendering things, incidents and protagonists in the way only the novelist could do. His work remained historical fiction, yet it questioned existing historical perceptions. The use of historical research was an important tool: Scott, the novelist, resorted to documentary sources as any historian would have done, but as a romantic he gave his subject a deeper imaginative and emotional significance. By combining research with "marvelous and uncommon incidents", Scott attracted a far wider market than any historian could, and was the most famous novelist of his generation, throughout Europe.