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GOTHIC FICTION Introduction by Peter Otto
GOTHIC FICTION Introduction by Peter Otto 1 The Sadleir-Black Collection 2 2 The Microfilm Collection 7 3 Gothic Origins 11 4 Gothic Revolutions 15 5 The Northanger Novels 20 6 Radcliffe and her Imitators 23 7 Lewis and her Followers 27 8 Terror and Horror Gothic 31 9 Gothic Echoes / Gothic Labyrinths 33 © Peter Otto and Adam Matthew Publications Ltd. Published in Gothic Fiction: A Guide, by Peter Otto, Marie Mulvey-Roberts and Alison Milbank, Marlborough, Wilt.: Adam Matthew Publications, 2003, pp. 11-57. Available from http://www.ampltd.co.uk/digital_guides/gothic_fiction/Contents.aspx Deposited to the University of Melbourne ePrints Repository with permission of Adam Matthew Publications - http://eprints.unimelb.edu.au All rights reserved. Unauthorised Reproduction Prohibited. 1. The Sadleir-Black Collection It was not long before the lust for Gothic Romance took complete possession of me. Some instinct – for which I can only be thankful – told me not to stray into 'Sensibility', 'Pastoral', or 'Epistolary' novels of the period 1770-1820, but to stick to Gothic Novels and Tales of Terror. Michael Sadleir, XIX Century Fiction It seems appropriate that the Sadleir-Black collection of Gothic fictions, a genre peppered with illicit passions, should be described by its progenitor as the fruit of lust. Michael Sadleir (1888-1957), the person who cultivated this passion, was a noted bibliographer, book collector, publisher and creative writer. Educated at Rugby and Balliol College, Oxford, Sadleir joined the office of the publishers Constable and Company in 1912, becoming Director in 1920. He published seven reasonably successful novels; important biographical studies of Trollope, Edward and Rosina Bulwer, and Lady Blessington; and a number of ground-breaking bibliographical works, most significantly Excursions in Victorian Bibliography (1922) and XIX Century Fiction (1951). -
Jane Austen*S Attitude Toward the Gothic Novel
Jane Austen's attitude toward the Gothic novel Item Type text; Thesis-Reproduction (electronic) Authors Brandon, Eugenie Josephine, 1894- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 11:55:33 Link to Item http://hdl.handle.net/10150/551095 JANE AUSTEN*S ATTITUDE TOWARD THE GOTHIC NOVEL by Eugenie J. Brandon Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College, University of Arizona 1 9 3 5 Approved: tfl. 13 3 6 V t ■r- :;o £?'??/ / 93S IZ3 CONTENTS Introduction .......... .. p. 1 Part I The Gothic Novel . .... pp. 2-14 Part II Types of Satire in Jane Austen’s Work . pp. 15-47 Part III The Effect of the Satire on the Story of Northanger Abbey . pp, 48-54 Part IV The Effect of Her Satiric Attitude on the Later Novels . pp. 55-59 Part V The Effect of Her Satirical Writ ings upon the Vogue of the Gothic Novel ..... ..... pp. 60-67 Conclusion . pp. 68-69 Bibliography . ................. pp. 70-76 / 98382 INTRODUCTION Horace Walpole, nobleman and antiquarian, educated at Cambridge and possessed of the additional culture derived from "the grand tour’1, early became interested in the stories of ehivalric romance and in Gothic architecture. Having both ample means and plenty of leisurej Walpole pur chased, in 1747, a little house in Twickenham, situated on the Thames in the midst of a five-acre plot. -
Imitation, Intertextuality and the Minerva Press Novel Hannah Doherty• Hudson
R OMANTICT EXTUALITIES LITERATURE AND PRINT CULTURE, 1780–1840 • ISSN 1748-0116 ◆ ISSUE 23 ◆ SUMMER 2020 ◆ SPECIAL ISSUE : THE MINERVA PRESS AND THE LITERARY MARKETPLACE ◆ www.romtext.org.uk ◆ CARDIFF UNIVERSITY PRESS ◆ 2 romantic textualities 23 Romantic Textualities: Literature and Print Culture, 1780–1840, 23 (Summer 2020) Available online at <www.romtext.org.uk/>; archive of record at <https://publications.cardiffuniversitypress.org/index.php/RomText>. Journal DOI: 10.18573/issn.1748-0116 ◆ Issue DOI: 10.18573/romtext.i23 Romantic Textualities is an open access journal, which means that all content is available without charge to the user or his/her institution. You are allowed to read, download, copy, distribute, print, search or link to the full texts of the articles in this journal without asking prior permission from either the publisher or the author. Unless otherwise noted, the material contained in this journal is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 (cc by-nc-nd) Interna- tional License. See https://creativecommons.org/licenses/by-nc-nd/4.0/ for more information. Origi- nal copyright remains with the contributing author and a citation should be made when the article is quoted, used or referred to in another work. C b n d Romantic Textualities is an imprint of Cardiff University Press, an innovative open-access publisher of academic research, where ‘open-access’ means free for both readers and writers. Find out more about the press at cardiffuniversitypress.org. Editors: Anthony Mandal, -
Yael Shapira, ‘The Gothic Novel Beyond Radcliffe and Lewis’, Inthe Cambridge History of the Gothic, Volume I: the Long Eighteenth Century, 1680–1820, Ed
R OMANTICT EXTUALITIES LITERATURE AND PRINT CULTURE, 1780–1840 • ISSN 1748-0116 ◆ ISSUE 23 ◆ SUMMER 2020 ◆ SPECIAL ISSUE : THE MINERVA PRESS AND THE LITERARY MARKETPLACE ◆ www.romtext.org.uk ◆ CARDIFF UNIVERSITY PRESS ◆ 2 romantic textualities 23 Romantic Textualities: Literature and Print Culture, 1780–1840, 23 (Summer 2020) Available online at <www.romtext.org.uk/>; archive of record at <https://publications.cardiffuniversitypress.org/index.php/RomText>. Journal DOI: 10.18573/issn.1748-0116 ◆ Issue DOI: 10.18573/romtext.i23 Romantic Textualities is an open access journal, which means that all content is available without charge to the user or his/her institution. You are allowed to read, download, copy, distribute, print, search or link to the full texts of the articles in this journal without asking prior permission from either the publisher or the author. Unless otherwise noted, the material contained in this journal is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 (cc by-nc-nd) Interna- tional License. See https://creativecommons.org/licenses/by-nc-nd/4.0/ for more information. Origi- nal copyright remains with the contributing author and a citation should be made when the article is quoted, used or referred to in another work. C b n d Romantic Textualities is an imprint of Cardiff University Press, an innovative open-access publisher of academic research, where ‘open-access’ means free for both readers and writers. Find out more about the press at cardiffuniversitypress.org. Editors: Anthony Mandal, -
Contesting the Catholic Presence in Female Gothic Fiction Diane Hoeveler Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 4-1-2012 Regina Maria Roche’s The Children of the Abbey: Contesting the Catholic Presence in Female Gothic Fiction Diane Hoeveler Marquette University, [email protected] Published version. Tulsa Studies in Women's Literature, Vol. 31, No. 1/2 (Spring/Fall 2012): 137-158. Publisher link. © 2012 University of Tulsa. Used with permission. Some images have been removed from this version of the article due to third-party copyright restrictions. Regina Maria Roche’s The Children of the Abbey: Contesting the Catholic Presence in Female Gothic Fiction Diane Long Hoeveler Marquette University I: Locating the Author Imagine my surprise when I learned that Regina Maria Roche (c. 1764- 1845), widely published Irish author of one of the most popular female gothic novels of the late eighteenth century, The Children of the Abbey (1796), was not in fact a Roman Catholic. In order fully to understand my surprise, you have to appreciate that there has been something of a scholarly revisionist craze of late to present her as a Catholic or, at the very least, as sympathetic to Catholicism in her major novel. Maria Purves states unequivocally: “Roche was an Irish Catholic, and it seems probable that she wanted to give her audience an insight into the realities—as opposed to the romantic possibilities—of her Church.”1 A few years earlier, George Haggerty had described The Children of the Abbey as having an “actively pro-Catholic . narrative agenda,” while Jarlath Killeen notes that the title of the novel privileges Catholicism and indicates the Catholic basis for Irish and, indeed, Western culture: “we are all ‘children of the abbey.’”2 Finally, Derek Hand has asserted that “there is a Catholic strain running through [The Children of the Abbey] at a subterranean level.”3 Unfortunately, none of these claims is borne out by an examination of either Roche’s life or her novel. -
Quiz Answers
answers 01. Richard 29. Henry Tilney 02. Two 30. John Thorpe 03. Nine 31. James Morland 04. Fourth 32. Catherine Morland 05. Cricket 33. Eleanor Tilney 06. Eight 34. Isabella Thorpe 07. One year 35. Catherine 08. Gay 36. Isabella 09. Her mother, Mrs. Morland 37. General Tilney 10. Fifteen; “up to fourteen” acceptable. 38. John Thorpe 11. Nine miles—Mrs. Allen says eight, but both 39. Catherine Catherine and Mr. Allen say nine, so we trust 40. Isabella their estimate. 41. Merchant-Taylors’ 12. Ten guineas Edgar’s Buildings 13. Pulteney Street ten o’clock 14. George Parry Woodston 15. The Lower Rooms two hours 16. The Master of Ceremonies, Mr. King Rumford 17. Sprigged muslin with blue trimmings, plain black shoes 42. Catherine 18. Newfoundland, terrier 43. Eleanor 19. Saturday 44. Isabella 20. The Pump Room 45. Miss Andrews 21. Two 46. History 22. William 47. The Twelfth Light Dragoons 23. Putney 48. Miss Drummond 24. Lawyer 49. Five o’clock 25. Twenty-one 50. Maggie Lane’s contribution: 26. The Italian, After a sleepless night you read on by the Castle of Wolfenbach, first glimmering of dawn, “Know that I married Clermont, a kind man, though his name was Richard, The Mysterious Warnings, but leaving me in the country shortly after The Necromancer of the Black Forest, my confinement for the House of Commons, The Midnight Bell, he was knocked down by a very knowing gig— The Orphan of the Rhine, and taken up lifeless! My little boy, perhaps Horrid Mysteries. from having no father to guide him, grew up with a tyrannical streak, and now that he 27. -
“Tyranny of the Contemporary and Literary Redundancy
“““TTTyyyrrraaannnnnnyyy ooofff ttthhheee cccooonnnttteeemmmpppooorrraaarrryyy &&& llliiitteeerrraaarrryyy rrreeeddduuunnndddaaannncccyyy::: TTThhheee cccaaassseee ooofff RRReeegggiiinnnaaa MMMaaarrriiiaaa RRRoooccchhheee””” “I’m fallin through the years As each dream it disappears When the night is full of tears I’ll be holdin on Now this life is etched in black But I won’t be lookin back The rain washed out the tracks I’ll never find again I’m still reaching for the light I’m still wearin out the night And you know I’ll be alright I’ll be holdin on.” [Gregg Allman]1 The Value and importance of heritage Delineation and definition of who and what we are requires contextualisation and this is best done through exploration and study of our heritage. Great art provides not just a reflection of society, it offers us a distillation and insight into times events and people. Joyce has suggested that if Dublin was destroyed it could be recreated from his seminal descriptions in Ulysses. Insights should have validity beyond the time in which the work was written and placed. All great art has a universality of appeal; the work of Michelangelo, Shakespeare and Bach transcends its physical and temporal dimension – it can as Joyce has suggested serve as an epiphany of the artistic experience portrayed. It can, perhaps more accurately, serve as an episteme for the period in which the work was executed. Placed against such a standard only a fraction of output over time can be considered great. But there are also standards by which a work can be considered to have Regional National and International importance. -
The Gothic Novel in Ireland, C. 1760–1829
THE NOVEL IN IRELAND c.1760–1829 Christina Morin The gothic novel in Ireland, c. 1760–1829 • The gothic novel in Ireland, c. 1760–1829 • Christina Morin Manchester University Press Copyright © Christina Morin 2018 The right of Christina Morin to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN 978 0 7190 9917 5 hardback ISBN 978 1 5261 2230 8 open access First published 2018 An electronic version of this book is also available under a Creative Commons (CC-BY-NC-ND) licence The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset by Toppan Best-set Premedia Limited Contents • List of figures page vii Acknowledgements ix Introduction: locating the Irish gothic novel 1 1 Gothic temporalities: ‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott 27 2 Gothic genres: romances, novels, and the classifications of Irish Romantic fiction 72 3 Gothic geographies: the cartographic consciousness of Irish gothic fiction 113 4 Gothic materialities: Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction 154 Conclusion 196 Appendix: A working bibliography of Irish gothic fiction, c. -
Maria Regina Roche (C
1 Maria Regina Roche (c. 1764 - 1845) Maria Regina Dalton was born in Waterford, County Wexford, in 1764, the daughter of Captain Blundell Dalton, an officer in His Majesty‟s Fortieth Regiment. The Daltons were descended from an ancient Irish family. Showing the makings of a novelist early in life, she later wrote of her childhood, „Books were my early passion. The punishment inflicted on me when I did anything to displease was to have them locked up from me. Ere I could well guide a pen, I strove to give utterance to the workings of my mind in writing.‟1 The family moved to Dublin where Dalton wrote The Vicar of Landsdowne, or Country Quarters (1789), a light-hearted novel in which its hero Captain Manning, a young army officer exudes „exquisite sensibility, exalted honour, and tender benevolence‟. It is a youthful work and starts with a cow impeding the progress of two young ladies who are rescued by two army officers. At times the authorial voice is heard; Sedgeley, a young curate objects to novels „they are seldom written with any judgement; they fire the fancy without improving the heart; they amuse the mind but give no information to the understanding; they promote VICE by misrepresenting VIRTUE.2 Dalton‟s second novel, The Maid of the Hamlet, (1793) has a dull and uninteresting plot but is noteworthy for its prophetic beginning „Yet if that Power (whose ways, however dark and intricate they may appear, are still directed by wisdom and by goodness) should allow calamity to pursue us even to the very brink of the grave, there are resources which can console and mitigate, and render our situation not utterly cheerless.‟3 At this point in her life, Dalton was not to know how bleak her own future would be. -
"The Necromancer of the Black Forest": a Truly "Horrid Novel"
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: "The Necromancer of the Black Forest": a truly "horrid novel" Creators: Mackley, J. S. Example citation: Mackley, J. S. (2012) "The Necromancer Rof the Black Forest": a truly "horrid novel". Symposium presented to: Fantastic Thresholds, Richmond, the American InternationaAl University in London, 16 November 2012. Version: Presented version T http://nectarC.northampton.ac.uk/4678/ NE P a g e | 1 The Necromancer of the Black Forest: A truly ‘horrid’ novel Jon Mackley, University of Northampton Paper presented at the Fantasy Thresholds Symposium, 16 November 2012 The Necromancer, or the Tale of the Black Forest is the title of one of the ‘horrid novels’ mentioned in Jane Austen’s Northanger Abbey. It is one of seven titles that Isabella Thorpe says that Catherine Morland must read after finishing The Mysteries of Udolpho: “Dear creature! How much I am obliged to you; and when you have finished Udolpho, we will read The Italian together; and I have made out a list of ten or twelve more of the same kind for you.” “Have you, indeed! How glad I am! What are they all?” “I will read you their names directly; here they are, in my pocketbook. Castle of Wolfenbach, Clermont, Mysterious Warnings, Necromancer of the Black Forest, Midnight Bell, Orphan of the Rhine, and Horrid Mysteries. Those will last us some time.” “Yes, pretty well; but are they all horrid, are you sure they are all horrid?”1 For a long time, The Necromancer and the other ‘horrid novels’ were thought to have been Jane Austen’s invention, until they were discovered in the 1920s by Austen’s biographer Michael Sadleir.2 However, as Northanger Abbey was first written around 1798/99, Austen is referring to recent publications from the Minerva Press, the leading publisher of Gothic fiction in England at the time; Isabella’s list provides the reader with a useful overview of the contemporary Gothic fiction of which The Necromancer was a popular example. -
GOTHIC FICTION - Rare Printed Works from the Sadleir-Black Collection of Gothic Fiction at T
GOTHIC FICTION - Rare Printed Works from the Sadleir-Black Collection of Gothic Fiction at t... GOTHIC FICTION: Rare Printed Works from the Sadleir-Black Collection of Gothic Fiction at the Alderman Library, University of Virginia Part 1: Matthew Lewis and Gothic Horror - Beckford to Lewis Part 2: Matthew Lewis and Gothic Horror - MacKenzie to Zschokke Part 3: Gothic Terror: Radcliffe and her Imitators - Boaden to Meeke Part 4: Gothic Terror: Radcliffe and her Imitators - Pickard to Wilkinson Part 5: Domestic and Sentimental Gothic - Bennett to Lamb Part 6: Domestic and Sentimental Gothic - Lathom to Warner Contents listing PUBLISHER'S NOTE INTRODUCTION BY PETER OTTO GOTHIC SATIRES, HISTORIES AND CHAP-BOOKS BY ALISON MILBANK CONTENTS OF REELS - Part 1 CONTENTS OF REELS - Part 2 CONTENTS OF REELS - Part 3 CONTENTS OF REELS - Part 4 CONTENTS OF REELS - Part 5 CONTENTS OF REELS - Part 6 BIOGRAPHIES BY MARIE-MULVEY ROBERTS A GOTHIC CHRONOLOGY COMPLETE LIST OF TITLES IN Parts 1-6 Gothic Fiction - Publisher's Note Part 1: Matthew Lewis and Gothic Horror - Beckford to Lewis Part 2: Matthew Lewis and Gothic Horror - MacKenzie to Zschokke Part 3: Gothic Terror: Radcliffe and her Imitators - Boaden to Meeke Part 4: Gothic Terror: Radcliffe and her Imitators - Pickard to Wilkinson Part 5: Domestic and Sentimental Gothic - Bennett to Lamb Part 6: Domestic and Sentimental Gothic - Lathom to Warner PUBLISHER'S NOTE Gothic Fiction has exerted a powerful influence over popular culture. From Walpole’s Prince Manfred to Buffy the Vampire Slayer, and from Ann Radcliffe to Anne Rice, tales of terror have been eagerly embraced by the public. -
The Gothic Novel in Ireland, C. 1760–1829
4 Gothic materialities: Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction • vocative of the nationally transformative potential of travel sketched Ein The old Irish baronet (1808) and The tradition of the castle (1824), Regina Maria Roche’s The castle chapel (1825) establishes the global journey of one of its two protagonists as the key to restored and refreshed identities at home. Compelled by his dependent status to conciliate the favour of a rich uncle by travelling first to India and then throughout Europe, William Delamere returns to Ireland considerably wealthier, materially and experientially, than when he left. There, literally and metaphorically enriched by his travels, he marries his childhood sweetheart, Grace O’Neil, restoring her family to the status and prosperity denied to them by a lengthy history of violent dispossession and metatextually rework- ing a similar union in Edgeworth’s Ennui (1809). In that novel, Lord Glenthorn’s marriage to Cecilia Delamere and assumption of his wife’s name is a symbolic act of rebirth that both reinvests him with an aris- tocratic identity and signals, in Clíona Ó Gallchoir’s terms, ‘the collapse of the patrilineal system’, as suggested by the translation of ‘de-la-mère’ as ‘of-the-mother’.1 The castle chapel, by contrast, places emphasis on another possible translation of Delamere – ‘de-la-mer’ or ‘of-the-sea’ – in order to suggest the centrality of mobility to Ireland’s future. Against Glenthorn’s alternately purposeless and boredom-driven travel