horror story, a story in which the focus is on creating a feeling of fear. Such tales are of ancient origin and form a substantial part of the body of folk literature. They can feature supernatural elements such as ghosts, witches, or vampires, or they can address more realistic psychological fears. In Western literature the literary cultivation of fear and curiosity for its own sake began to emerge in the 18th-century pre-Romantic era with the Gothic novel. The genre was invented by Horace Walpole, whose Castle of Otranto (1765) may be said to have founded the horror story as a legitimate literary form. Mary Wollstonecraft Shelley introduced pseudoscience into the genre in her famous novel Frankenstein (1818), about the creation of a monster that ultimately destroys its creator.
In the Romantic era the German storyteller E.T.A. Hoffmann and the American Edgar Allan Poe raised the horror story to a level far above mere entertainment through their skillful intermingling of reason and madness, eerie atmosphere and everyday reality. They invested their spectres, doubles, and haunted houses with a psychological symbolism that gave their tales a haunting credibility.
The Gothic influence persisted throughout the 19th century in such works as Sheridan Le Fanu’s The House by the Churchyard and “Green Tea,” Wilkie Collins’s The Moonstone, and Bram Stoker’s vampire tale Dracula. The influence was revived in the 20th century by science-fiction and fantasy writers such as Mervyn Peake in his Gormenghast series. Other masters of the horror tale were Ambrose Bierce, Arthur Machen, Algernon Blackwood, H.P. Lovecraft, and Stephen King. Isolated masterpieces have been produced by writers not usually associated with the genre, such as Guy de Maupassant’s “Le Horla,” A.E. Coppard’s “Adam and Eve and Pinch Me,” Saki’s “Sredni Vashtar” and “The Open Window,” and W.F. Harvey’s “August Heat.” Some of the best-known horror stories owe their power to full-bodied characters that develop in realistic social environments and to the very absence of a mysterious atmosphere. In this category are Aleksandr Pushkin’s “The Queen of Spades” and W.W. Jacobs’s “The Monkey’s Paw.”
tragicomedy, dramatic work incorporating both tragic and comic elements. When coined by the Roman dramatist Plautus in the 2nd century BC, the word denoted a play in which gods and men, masters and slaves reverse the roles traditionally assigned to them, gods and heroes acting in comic burlesque and slaves adopting tragic dignity. This startling innovation may be seen in Plautus’ Amphitryon.
In the Renaissance, tragicomedy became a genre of play that mixed tragic elements into drama that was mainly comic. The Italian writer Battista Guarini defined tragicomedy as having most of tragedy’s elements—e.g., a certain gravity of diction, the depiction of important public events, and the arousal of compassion—but never carrying the action to tragedy’s conclusion, and judiciously including such comic elements as low-born characters, laughter, and jests. Central to this kind of tragicomedy were danger, reversal, and a happy ending. Despite its affront to the strict Neoclassicism of the day, which forbade the mixing of genres, tragicomedy flourished, especially in England, whose writers largely ignored the edicts of Neoclassicism. John Fletcher provides a good example of the genre in The Faithful Shepherdess (c. 1608), itself a reworking of Guarini’s Il pastor fido, first published in 1590. Notable examples of tragicomedy by William Shakespeare are The Merchant of Venice (1596–97), The Winter’s Tale (1610–11), and The Tempest (1611–12).
Nineteenth-century Romantic writers espoused Shakespeare’s use of tragicomedy in the belief that his plays closely mirrored nature, and they used him as a model for their works. The dramas of Georg Büchner, Victor Hugo, and Christian Dietrich Grabbe reflect his influence. With the advent of realism later in the 19th century, tragicomedy underwent yet another revision. Still intermingling the two elements, comic interludes now highlighted the ironic counterpoints inherent in a play, making the tragedy seem even more devastating. Such works as Henrik Ibsen’s Ghosts (1881) and The Wild Duck (1884) reflect this technique. George Bernard Shaw said of Ibsen’s work that it established tragicomedy as a more meaningful and serious entertainment than tragedy. Anton Chekhov’s tragicomedies include Uncle Vanya (1897) and The Cherry Orchard (1904).
Modern tragicomedy is sometimes used synonymously with Absurdist drama, which suggest that laughter is the only response left to man when he is faced with the tragic emptiness and meaninglessness of existence. Examples of this modern type of tragicomedy are Samuel Beckett’s Endgame (1958) and Harold Pinter’s The Dumb-Waiter (1960).
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