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The genesis of Gothic literature can be traced to the 18th-century England, a period marked by its unique amalgamation of Romantic ideals and burgeoning existential intricacies. Central to this literary genre is the concept of the sublime—a philosophical construct that evokes profound emotional experiences through encounters with the extraordinary, the obscure, and the terrifying. Gothic literature posits that the sublime is not merely an aesthetic experience but a conduit to exploring human consciousness and its eerie depths.

Edmund Burke's seminal treatise, "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful," delineates the sublime’s capacity to transcend mundane reality, allowing individuals to grapple with the alarming contradictions innate in their psyche. Burke discerns that while beauty is gentle and affable, the sublime is immense and overpowering, inducing a sense of awe tinged with dread. This duality permeates Gothic works, manifesting in labyrinthine castles, tempestuous landscapes, and phantasmagoric apparitions, all serving as metaphors for the tumultuous inner world.

Authors like Ann Radcliffe harnessed the sublime to not only evoke horror but to explore its intersections with love, fear, and the esoteric. Her novel, "The Mysteries of Udolpho," epitomizes the sublime’s pivotal role as both a narrative device and a psychological probe. Through its labyrinthine plot and enigmatic characters, Radcliffe illuminates the human propensity towards fascination with the incomprehensible and the grotesque. Hence, the sublimity in Gothic literature becomes a canvas upon which the intricacies of the human condition are meticulously depicted and deconstructed.