Literary critics, notably Ann Radcliffe in her essay on the supernatural, distinguished between 'terror' and 'horror.' Terror is often associated with the female Gothic, focusing on psychological suspense and the sublime, while 'horror' is traditionally associated with the male Gothic, characterized by more graphic, visceral, and physical manifestations of fear and violence.

Ellen Moers, in her critical analysis of Gothic literature, argues that Radcliffe's protagonist, Emily St. Aubert, breaks the mold of the passive, fainting Gothic heroine. Instead, Emily is portrayed as a sensible, rational, and resilient individual who maintains her composure and agency despite the terrifying circumstances she encounters, thereby subverting the trope of the purely defenseless woman.

Shelley presents science as a dangerous pursuit when divorced from ethical responsibility and human connection. Victor Frankenstein's unchecked ambition leads to the creation of a 'monster,' suggesting that scientific advancement without moral oversight is inherently destructive. The novel serves as a cautionary tale regarding the hubris of the Enlightenment and the potential for scientific discovery to result in catastrophic, monstrous consequences.

The 'Wandering Jew' is a legendary figure condemned to roam the earth until the Second Coming. This motif is deeply rooted in medieval folklore, where the figure is punished for mocking or refusing aid to Jesus during his journey to the crucifixion. The 'curse of immortality' (often misidentified as immorality in some texts) serves as a metaphor for eternal suffering, alienation, and the weight of historical guilt.

Gothic fiction frequently employs a dreamlike, atmospheric style to describe nature, often imbuing the environment with personified spirits or eerie qualities to evoke a sense of the sublime or the uncanny. The use of vivid, supernatural imagery to create wonder and unease is a hallmark of the Gothic tradition, distinguishing it from more realistic or purely didactic genres.

In the late Victorian imagination, Transylvania functioned as an exotic, peripheral 'Other.' By placing Dracula in a region that was geographically distant and culturally obscure to the average British reader, Stoker exploits contemporary xenophobic anxieties. This lack of familiarity allows the author to frame the Count as a mysterious, encroaching threat to the stability and rationalism of Western European society.

The uncanny, or 'unheimlich', involves making the familiar seem strange and threatening. Gilman achieves this by transforming the mundane domestic object of wallpaper into a source of profound psychological terror for the protagonist. By imbuing a common household feature with sinister, shifting patterns, the story creates an unsettling atmosphere that reflects the protagonist's deteriorating mental state.

Vijay Mishra posits that the labyrinth in Gothic fiction serves as more than a physical setting; it functions as a psychological space. He suggests that the labyrinthine structure mirrors the reader's own internal, complex consciousness, facilitating an introspective journey into the subconscious. This interpretation highlights the Gothic sublime's preoccupation with the hidden, often darker, layers of the human psyche and the disorientation that accompanies such self-exploration.

Gothic novels are characterized by elements of terror, the supernatural, the sublime, and intense emotional states. While they may feature aristocratic settings, the primary focus is on atmosphere, mystery, and psychological dread rather than the social satire or detailed exploration of manners and traditions found in the Comedy of Manners or the novel of manners.

The rapid advancement of scientific inquiry and medical experimentation during the Enlightenment and Romantic periods fostered a fascination with the boundaries of life and death. This intellectual climate, characterized by the potential to manipulate the human form, directly influenced Gothic narratives, which often explored the terrifying consequences of overstepping natural or divine laws through science.