Gothic writing warns of the dangers of aspiring beyond our limitations. How far does your reading of gothic texts support this view?

The gothic tradition in literature was an attempt to warn, in a sensational and often controversial way, about the social and personal consequences of going against accepted beliefs of the time. In Macbeth, Frankenstein and The Bloody Chamber, the protagonists all have limitations placed upon them in some way: whether earthly or supernatural, by society or nature. The dangers associated with aspiring beyond these limitations are explored in all three texts. 
In Mary Shelley’s Frankenstein, the dangers of aspiring beyond the limitations of nature and science are presented explicitly through the character of Victor Frankenstein himself and his creation of the monster. In giving life to the creature, Victor usurps the role of God; “a new species would bless me as its creator”, yet at the same time he appears to notice his breaking of boundaries in his description of his "workshop" of "filthy creation". Victor constantly seeks knowledge to the point where he becomes obsessed, possessing a blatant disregard for societal boundaries. 
The language used in gothic texts tends to be passionate and excessive; sensational and unrestrained by taste or moderation. In The Bloody Chamber, there is a tension between the active and passive state, of entrapment and freedom. Images of caged birds, creatures of hybridity and hyperbolic descriptions and settings litter the texts throughout. In ‘The Tigers Bride’, the young girl is liberated from society by joining the beasts, thus celebrating rather than warning against transgression.  Carter could be suggesting that if women do not aspire beyond their limitations, they will be forever trapped in mediocrity; they have to transgress the boundaries to move further in life. Passivity will not make change come about, but in doing so they will encounter risks. Carter warns of the dangers of not aspiring beyond our limitations, particularly in regards to the female characters she presents. Carter could be seen as suggesting that there are rewards for transgressing. In Macbeth, the aspirations of Macbeth and Lady Macbeth disrupt the natural order of life and ultimately die as a punishment after extended periods of grief, somnambulism and sacrilege. Macbeth finds he can no longer say “Amen” and claims to have heard a voice saying “sleep no more, Macbeth does murder sleep. . . Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more, Macbeth shall sleep no more.” Those of the Jacobean era believed in the divine right of kings, the right to rule being direct of God’s will, and so Macbeth has unrightfully taken the crown. Similarly, Lady Macbeth's encouragement of her husband, although successful, is ultimately condemned. Her rejection of her maternal capabilities in Act 1 Scene 7 is seen as a pushing of the boundaries of gender and the invocation of the supernatural would have been abhorrent to contemporary audiences wary of the dangers of witchcraft. Therefore her transgressions act as warning to Shakespeare's audiences but perhaps do not have the same dangerous resonances from a modern perspective.
To conclude, limitations feature heavily in all three texts, but arguably it is only in Macbeth and Frankenstein that dangers of aspiring beyond these are punished. Macbeth, Lady Macbeth and Frankenstein are all punished for their over-ambitious aspirations, and thus, despite Frankenstein and the Macbeth's both succeeding in what they desired to do, gothic texts entice the exploration of boundaries but warn us of the potential dangers seen in the protagonists' punishments.