APPROVAL OF THE DISSERTATION COMMITTEE We, the undersigned, certify that we have read, reviewed, and critiqued the dissertation of Natalie Hewitt and do hereby approve it as adequate in scope and quality for meriting the degree of Doctor of Philosophy in English. Abstract "Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition by Natalie Ann Hewitt Claremont Graduate University: 2013 This dissertation examines Shakespeare's role as the most significant

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... precursor to the Gothic author in Britain, suggesting that Shakespeare used the same literary conventions that Gothic writers embraced as they struggled to create a new subgenre of the novel. By borrowing from Shakespeare's canon, these novelists aimed to persuade readers and critics that rather than undermining the novel's emergent, still unassured status as an acceptable literary genre, the nontraditional aspects of their works paid homage to Shakespeare's imaginative vision. Gothic novelists thereby legitimized their attempts at literary expression. Despite these efforts, Gothic writers did not instantly achieve the type of acceptance or admiration that they sought. The Gothic novel has consistently been viewed as a monstrous, immature literary form-either a poor experiment in the history of the novel or a guilty pleasure for those who might choose to read or to write works that fit within this mode. Writers of Gothic fictions often claim that their works emulate Shakespeare's dramatic pathos, but they do not acknowledge that the playwright also had to navigate similar opposition to his own creative expression. While early Gothic novelists had to contend with skeptical readers and reviewers, Shakespeare had to negotiate the religious, political, and ideological limitations that members of the court, the church, and the patronage system imposed upon his craft. Interestingly, Shakespeare often succeeded in circumventing these limitations by employing the literary techniques and topoi that we recognize today as trademarks of Gothic fiction-spectacle, sublime, sepulcher, and the supernatural. Each of these concepts expresses subversive intentions toward authoritative power. For Shakespeare and the Gothic novelists, the dramatic potential of these elements corresponds directly to their ability to target the sociocultural fears and anxieties of their audience; the results are works that frighten as well as amuse. As my dissertation will show, these authors use similar imagery to surreptitiously challenge the authority figures and institutions that sought to prescribe what makes a work of fiction socially acceptable or worthy of critical acclaim. Dedicated to the memory of my father-in-law Gary Donald Hewitt vi Acknowledgments On a particularly difficult writing day, a dear friend of mine sent me an encouraging note, which included this reminder: "If the voices of the Muses don't show up, hear the voices of those who support you." Throughout the dissertation process, several friends, colleagues, family members, and mentors helped me remain focused and inspired when I was unable to stay motivated on my own. Among those individuals, I am happy to say, were many of my students and co-workers. I consider myself fortunate to be surrounded by such a strong support system. In particular, I would like to thank the members of my dissertation committee: Sarah Raff, Jolene Zigarovich, and Lori Anne Ferrell for offering encouragement and instruction. As the dissertation chair, Sarah was a source of constant academic excellence and sincere human kindness. I am so grateful that I had the opportunity to work with her.