Download PDF by Ruth Robbins, Julian Wolfreys: Victorian Gothic: Literary and Cultural Manifestations in

By Ruth Robbins, Julian Wolfreys

ISBN-10: 0312231695

ISBN-13: 9780312231699

To what quantity did the Gothic hang-out the 19th century? Victorian Gothic seeks to respond to this query because it introduces the reader to a well timed revision of notions of the Gothic in all its manifestations. The Gothic is located to hang-out all elements of Victorian literature and tradition. in addition, Victorian Gothic connects its disparate components of analysis in returning again and again to the query of the structure of the topic, in a examine of the Victorians from the 1830s to the Nineties.

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Download e-book for kindle: Victorian Gothic: Literary and Cultural Manifestations in by Ruth Robbins, Julian Wolfreys

To what quantity did the Gothic hang-out the 19th century? Victorian Gothic seeks to respond to this query because it introduces the reader to a well timed revision of notions of the Gothic in all its manifestations. The Gothic is located to hang-out all points of Victorian literature and tradition. additionally, Victorian Gothic connects its disparate components of study in returning time and again to the query of the structure of the topic, in a examine of the Victorians from the 1830s to the Nineties.

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She pompously enters arguments against what she sees as his ‘practical joke’ which are based on her own family loyalty and pride (‘to the just indignation of my uncle’ is a fine stroke of forensic irony). There are two or three other moments like this, where Silas’s coachplot stands on the brink of discovery, almost foiled by Maud herself. For example, in the following, when Silas writes in code and Maud spots it: I cannot say what it was in this short advice that struck me with fear. Was it the thick line beneath the word ‘Dover’ that was so uncalled for, and gave me a faint but terrible sense of something preconcerted?

I then rattled them crack over the stones of Up-and-down Hill – I then introduced them to the gibbet on Heavy-tree Heath, and from that, with a circumbendibus, I fairly lodged them in the horsepond at the bottom of the garden. Hastings: But no accident, I hope. Tony: No, no. Only mother is confoundedly frightened. She thinks herself forty miles off … (Goldsmith 1960, 281) This cock and bull story forms the climax of this comedy in which the hypocrisy and the class pretensions of the characters are ridiculed by a hallucinatory set of literal misunderstandings about identity and location.

She answered in her old way. ’ (1981, 394) ‘Dover’ means Bartram-Haugh, of course; but ‘Dover’ is also the point of recall for the Sheridan incident with Mme de Genlis. Here the feeling that the plot is already known is irresistible, and yet curiously the almost comic effect is tilted and creates suspense and tension. The fabric of the plot is so flimsy that Maud, unlike Mrs Hardcastle, soon recognizes Bartram-Haugh and declares the ‘hotel’ at ‘Dover’ to be such (1981, 400); but again, the comic possibilities of these moments are suppressed by the fanatical and sinister violence of the narrative.

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Victorian Gothic: Literary and Cultural Manifestations in the Nineteenth-Century by Ruth Robbins, Julian Wolfreys


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