The Etymology of Horror

Would it surprise you to learn that the average person misuses the word "horror" everyday? Indeed, most dictionaries, such as the Merriam-Webster dictionary, offer a multiplicity of definitions, but which one is correct?

General Definitions

Merriam-Webster (Est. 1828): "a :painful and intense fear, dread, or dismay," "b :intense aversion or repugnance."

Oxford Learner's Dictionaries: "a feeling of great shock or fear."

Dictionary.com: "(as a noun): an overwhelming and painful feeling caused by something frightfully shocking, terrifying, or revolting; a shuddering fear."

These general definitions tend to overlap, where horror is treated as an umbrella term for a multitude of sensations. However, its utility seems to also address feelings of unpleasantness, revulsion, or repugnance. Synonyms of these words will commonly produce another similar word, which is "disgust."

Its Origins

Why is there such a variety of meanings? The Online Etymology Dictionary offers a more concrete meaning. From the 14th century, the term has been attributed to a "feeling of disgust," but changed meaning in the late 14th century, where it described an "emotion of horror or dread."

Horror vs. Terror

As an avid horror fan, I think it's important to distinguish horror from terror because there is a difference! From 1500, terror has been attested to a "fear so great as to overwhelm the mind," which is distinct from horror. Its utility also extends to feelings of panic, alarm, great fear, or dread. Principally, terror is referring to the state of causing fear or terror in one's mind or heart. Horror, by contrast, references the state of causing intense feelings of disgust. Why might this be, if the definitions of horror overlap with those of terror? This is because "horror" as we know it today, emerged from the gothic.

The Gothic Genre

The gothic genre is an immense literary field dating back to Horace Walpole's The Castle of Otranto (1764). Accessible via the Project Gutenberg, Walpole's story deals with bloodlines, familial power, and religion. The language depicted in the story tends to rely on sound as instruments of horror where sudden loud noises caused feelings of great shock. Elsewhere, Walpole channelled feelings of repugnance, which is a recurrent theme of the gothic genre. The opening moments of the story demonstrate the tone of horror seen in what is regarded as the first gothic novel (Sorry, Edgar Allan Poe).

Young Conrad’s birthday was fixed for his espousals. The company was assembled in the chapel of the Castle, and everything ready for beginning the divine office, when Conrad himself was missing. Manfred, impatient of the least delay, and who had not observed his son retire, despatched one of his attendants to summon the young Prince. The servant, who had not stayed long enough to have crossed the court to Conrad’s apartment, came running back breathless, in a frantic manner, his eyes staring, and foaming at the mouth. He said nothing, but pointed to the court. The company were struck with terror and amazement.

Notice, how the servant's behaviour implies his state of being; he is frantic and silent. Contrary to popular belief, the use of "amazement" stirs feelings of perplexity rather than awe. An intermingling of terror and amazement introduces an interesting dichotomy because the company is overwhelmed due to fear but is simultaneously stupefied. Conrad was to marry a young woman named Isabella. Isabella's interaction with Manfred, the patriarch, demonstrates horror full-fledged.

“I desired you once before,” said Manfred angrily, “not to name that woman: from this hour she must be a stranger to you, as she must be to me. In short, Isabella, since I cannot give you my son, I offer you myself.” At those words he seized the cold hand of Isabella, who was half dead with fright and horror.

It is intriguing that "fright" and "horror" should be used in one sentence. Manfred offers to be Isabella's husband in place of his deceased son. Isabella was "half dead with fright and horror," meaning she felt terror and revulsion. Each time Isabella witnesses Manfred, Walpole describes feelings of dread, terror, or horror. The suggestions of being married to Manfred caused "horror" in Isabella. Now, she could not have been feeling two identical emotional responses at once. If she had been, then Walpole would merely use one word to describe her initial reaction instead of two words.

Rationale

In this light, horror, as it emerged from the gothic genre, must have been referring to feelings of disgust or revulsion rather than fear. Nowadays, people use "horror" as a catch-all-term to describe something scary. I will also mention that "scary" according to the O.E.D., has been attested to be "terrifying, causing or tending to cause fright" since the late 1500s.

The key takeaway from this post is to be reminded that "horror" did not originally deal with feelings of fear but rather repugnance as evident in Walpole's story.