Tale of Terror: A Study of the Gothic Romance — Chapter 12 - Conclusion

CHAPTER XII - CONCLUSION.

This book is an attempt to trace in outline the origin and development of the Gothic romance and the tale of terror.

Such a survey is necessarily incomplete.

For more than fifty years after the publication of _The Castle of Otranto_ the Gothic Romance remained a definitely recognised kind of fiction; but, as the scope of the novel gradually came to include the whole range of human expression, it lost its individuality, and was merged into other forms.

To follow every trail of its influence would lead us far afield.

The Tale of Terror, if we use the term in its wider sense, may be said to include the magnificent story of the Writing on the Wall at Belshazzar's Feast, the Book of Job, the legends of the Deluge and of the Tower of Babel, and Saul's Visit to the Witch of Endor, which Byron regarded as the best ghost story in the world.

In the Hebrew writings fear is used to endow a hero with superhuman powers or to instil a moral truth.

The sun stands still in the heavens that Joshua may prevail over his enemies.

In modern days the tale of terror is told for its own sake.

It has become an end in itself, and is probably appreciated most fully by those who are secure from peril.

It satisfies the human desire to experience new emotions and sensations, without actual danger.

There is little doubt that the Gothic Romance primarily made its appeal to women readers, though we know that Mrs. Radcliffe had many men among her admirers, and that Cherubina of _The Heroine_ had a companion in folly, The Story-Haunted Youth.

It is remotely allied, as its name implies, to the mediaeval romances, at which Cervantes tilts in _Don Quixote_.

It was more closely akin, however, to the heroic romances satirised in Mrs. Charlotte Lennox's _Female Quixote_ (1752).

When the voluminous works of Le Calprenède and of Mademoiselle de Scudéry were translated into English, they found many imitators and admirers, and their vogue outlasted the seventeenth century.

_Artamène ou le Grand Cyrus_, out of which Mrs. Pepys told her husband long stories, "though nothing to the purpose, nor in any good manner," is to be found, with a pin stuck through one of the middle leaves, in the lady's library described by Addison in the _Spectator_, Mrs. Aphra Behn, in _Oroonoko_ and _The Fair Jilt_, had made some attempt to bring romance nearer to real life; but it was not until the middle of the eighteenth century, when the novel, with the rise of Richardson, Fielding, Smollett and Sterne, took firm root on English soil, that the popularity of Cassandra, Parthenissa and Aretina was superseded.

Then, if we may trust the evidence of Colman's farce, _Polly Honeycombe_, first acted in 1760, Pamela, Clarissa Harlowe and Sophia Western reigned in their stead.

For the reader who had patiently followed the eddying, circling course of the heroic romance, with its high-flown language and marvellous adventures, Richardson's novel of sentiment probably held more attraction than Fielding's novel of manners.

Fielding, on his broad canvas, paints the life of his day on the highway, in coaches, taverns, sponging-houses or at Vauxhall masquerades.

Every class of society is represented, from the vagabond to the noble lord.

Richardson, in describing the shifts and subterfuges of Mr. B--and the elaborate intrigue of Lovelace, moves within a narrow circle, devoting himself, not to the portrayal of character, but to the minute analysis of a woman's heart.

The sentiment of Richardson descends to Mrs. Radcliffe.

Her heroines are fashioned in the likeness of Clarissa Harlowe; her heroes inherit many of the traits of the immaculate Grandison.

She adds zest to her plots by wafting her heroines to distant climes and bygone centuries, and by playing on their nerves with superstitious fears.

Since human nature often looks to fiction for a refuge from the world, there is always room for the illusion of romance side by side with the picture of actual life.

Fanny Burney's spirited record of Evelina's visit to her vulgar, but human, relatives, the Branghtons, in London, is not enough.

We need too the sojourn of Emily, with her thick-coming fancies, in the castle of Udolpho.

The Gothic Romance did not reflect real life, or reveal character, or display humour.

Its aim was different.

It was full of sentimentality, and it stirred the emotions of pity and fear.

The ethereal, sensitive heroine, suffering through no fault of her own, could not fail to win sympathy.

The hero was pale, melancholy, and unfortunate enough to be attractive.

The villain, bold and desperate in his crimes, was secretly admired as well as feared.

Hairbreadth escapes and wicked intrigues in castles built over beetling precipices were sufficiently outside the reader's own experience to produce a thrill.

Ghosts, and rumours of ghosts, touched nearly the eighteenth century reader, who had often listened, with bated breath, to winter's tales of spirits seen on Halloween in the churchyard, or white-robed spectres encountered in dark lanes and lonely ruins.

In country houses like those described in Miss Austen's novels, where life was diversified only by paying calls, dining out, taking gentle exercise or playing round games like "commerce" or "word-making and work-taking," the Gothic Romances must have proved a welcome source of pleasurable excitement.

Mr. Woodhouse, with his melancholy views on the effects of wedding cake and muffin, would have condemned them, no doubt, as unwholesome; Lady Catherine de Bourgh would have been too impatient to read them; but Lydia Bennet, Elinor Dashwood and Isabella Thorpe must have found in them an inestimable solace.

Their fame was soon overshadowed by that of the Waverley Novels, but they had served their turn in providing an entertaining interlude before the arrival of Sir Walter Scott.

Even at the very height of his vogue, they probably enjoyed a surreptitious popularity, not merely in the servants' hall, but in the drawing room.

Nineteenth century literature abounds in references to the vogue of this school of fiction.

There were spasmodic attempts at a revival in an anonymous work called _Forman_ (1819), dedicated to Scott, and in Ainsworth's _Rookwood_ (1834); and terror has never ceased to be used as a motive in fiction.

In _Villette_, Lucy Snowe, whose nerves Ginevra describes as "real iron and bend leather," gazes steadily for the space of five minutes at the spectral "nun."

This episode indicates a change of fashion; for the lady of Gothic romance could not have submitted to the ordeal for five seconds without fainting.

A more robust heroine, who thinks clearly and yet feels strongly, has come into her own.

In _Jane Eyre_ many of the situations are fraught with terror, but it is the power of human passion, transcending the hideous scenes, that grips our imagination.

Terror is used as a means to an end, not as an end in itself.

In _Wuthering Heights_ the windswept Yorkshire moors are the background for elemental feelings.

We no longer "tremble with delicious dread" or "snatch a fearful joy."

The gloom never lightens.

We live ourselves beneath the shadow of Heathcliff's awe-inspiring personality, and there is no escape from a terror, which passes almost beyond the bounds of speech.

The Brontës do not trifle with emotion or use supernatural elements to increase the tension.

Theirs are the terrors of actual life.

Other novelists, contemporary with the Brontës, revel in terror for its own sake.

Wilkie Collins weaves elaborate plots of hair-raising events.

The charm of _The Moonstone_ and the _Woman in White_ is independent of character or literary finish.

It consists in the unravelling of a skilfully woven fabric.

Le Fanu, who resented the term "sensational" which was justly applied to his works, plays pitilessly on our nerves with both real and fictitious horrors.

He, like Wilkie Collins, made a cult of terror.

Their literary descendants may perhaps be found in such authors as Richard Marsh or Bram Stoker, or Sax Rohmer.

In Bram Stoker's _Dracula_ the old vampire legend is brought up to date, and we are held from beginning to end in a state of frightful suspense.

No one who has read the book will fail to remember the picture of Dracula climbing up the front of the castle in Transylvania, or the scene in the tomb when a stake is driven through the heart of the vampire who has taken possession of Lucy's form.

The ineffable horror of the "Un-Dead" would repel us by its painfulness, if it were not made endurable by the love, hope and faith of the living characters, particularly of the old Dutch doctor, Van Helsing.

The matter-of-fact style of the narrative, which is compiled of letters, diaries and journals, and the mention of such familiar places as Whitby and Hampstead, help to enhance the illusion.

The motive of terror has often been mingled with other motives in the novel as well as in the short tale.

In unwinding the complicated thread of the modern detective story, which follows the design originated by Godwin and perfected by Poe, we are frequently kept to our task by the force of terror as well as of curiosity.

In _The Sign of Four_ and in _The Hound of the Baskervilles_, to choose two entirely different stories, Conan Doyle realises that darkness and loneliness place us at the mercy of terror, and he works artfully on our fears of the unknown.

Phillips Oppenheim and William Le Queux, in romances which have sometimes a background of international politics, maintain our interest by means of mystifications, which screw up our imagination to the utmost pitch, and then let us down gently with a natural but not too obvious explanation.

A certain amount of terror is almost essential to heighten the interest of a novel of costume and adventure, like _The Prisoner of Zenda_ or _Rupert of Hentzau_, or of the fantastic, exciting romances of Jules Verne.

Rider Haggard's African romances, _She_ and _King Solomon's Mines_, belong to a large group of supernatural tales with a foreign setting.

They combine strangeness, wonder, mystery and horror.

The ancient theme of bartering souls is given a new twist in Robert Hichens' novel, _The Flames_.

E.

F.

Benson, in _The Image in the Sand_, experiments with Oriental magic.

The investigations of the Society for Psychical Research gave a new impulse to stories of the occult and the uncanny.

Algernon Blackwood is one of the most ingenious exponents of this type of story.

By means of psychical explanations, he succeeds in revivifying many ancient superstitions.

In _Dr.

John Silence_, even the werewolf, whom we believed extinct, manifests himself in modern days among a party of cheerful campers on a lonely island, and brings unspeakable terror in his trail.

Sometimes terror is used nowadays, as Bulwer Lytton used it, to serve a moral purpose.

Oscar Wilde's _Picture of Dorian Gray_ is intended to show that sin must ultimately affect the soul; and the Sorrows of Satan, in Miss Corelli's novel, are caused by the wickedness of the world.

But apart from any ulterior motive there is still a desire for the unusual, there is still pleasure to be found in a thrill, and so long as this human instinct endures devices will be found for satisfying it.

Of the making of tales of terror there is no end; and almost every novelist of note has, at one time or another, tried his hand at the art.

Early in his career Arnold Bennett fashioned a novelette, _Hugo_, which may be read as a modernised version of the Gothic romance.

Instead of subterranean vaults in a deserted abbey, we have the strong rooms of an enterprising Sloane Street emporium.

The coffin, containing an image of the heroine, is buried not in a mouldering chapel, but in a suburban cemetery.

The lovely but harassed heroine has fallen, indeed, from her high estate, for Camilla earns her living as a milliner.

There are, it is true, no sonnets and no sunsets, but the excitement of the plot, which is partially unfolded by means of a phonographic record, renders them superfluous.

H.

G.

Wells makes excursions into quasi-scientific, fantastic realms of grotesque horror in his _First Men in the Moon_, and in some of his sketches and short stories.

Joseph Conrad has the power of fear ever at the command of his romantic imagination.

In _The Nigger of the Narcissus_, in _Typhoon_, and, above all, in _The Shadow-Line_, he shows his supreme mastery over inexpressible mystery and nameless terror.

The voyage of the schooner, doomed by the evil influence of her dead captain, is comparable only in awe and horror to that of _The Ancient Mariner_.

Conrad touches unfathomable depths of human feelings, and in his hands the tale of terror becomes a finished work of art.

The future of the tale of terror it is impossible to predict;

but the experiments of living authors, who continually find new outlets with the advance of science and of psychological enquiry, suffice to prove that its powers are not yet exhausted.

Those who make the 'moving accident' their trade will no doubt continue to assail us with the shock of startling and sensational events.

Others with more insidious art, will set themselves to devise stories which evoke subtler refinements of fear.

The interest has already been transferred from 'bogle-wark' to the effect of the inexplicable, the mysterious and the uncanny on human thought and emotion.

It may well be that this track will lead us into unexplored labyrinths of terror.

NOTES:

[1: Frazer, _Folklore of the Old Testament_, I. iv.

§ 2. ] [2: _Cock Lane and Common Sense_, 1894. ] [3: _Spectator_, No. 12. ] [4: _Spectator_, No. 110. ] [5: Boswell, _Life of Johnson_, June 12th, 1784. ] [6: _Tom Jones_, Bk.

xvi.

ch. v.

] [7: Letter to Dr. Moore, Aug.

2, 1787. ] [8: Ashton, _Chapbooks of the Eighteenth Century_, 1882. ] [9: Advertisement to _Cloudesley_, 1830. ] [10: Preface to _Mandeville_, Oct.

25, 1817. ] [11: Letters, vii.

27. ] [12: _The Uncommercial Traveller_.

] [13: _Odyssey_, xi.

] [14: April 17, 1765. ] [15: Nov.

13, 1784. ] [16: June 12, 1753. ] [17: _Remarks on Italy_.

] [18: Aug.

4, 1753. ] [19: _Diary and Letters of Madame D'Arblay_, vol. ii.

Appendix ii. : _A

Visit to Strawberry Hill in 1786_.

] [20: Jan.

5, 1766. ] [21: July 15, 1783. ] [22: March 26, 1765. ] [23: Nov.

5, 1782. ] [24: It has been pointed out (Scott, _Lives of the Novelists_, note) that in Lope de Vega's _Jerusalem_ the picture of Noradine stalks from its panel and addresses Saladine.

] [25: Cf.

Wallace, _Blind Harry_.

] [26: _Preface_, 1764. ] [27: Ch. XX.

] [28: Ch. XXXIV.

] [29: Ch. lxii.

] [30: Jan.

27, 1780. ] [31: _Letters_, April 8, 1778, and Jan.

27, 1780. ] [32: _Poetical Works_, ed.

Sampson, p. 8. ] [33: Translated _Blackwood's Magazine_, 1820 (Nov.

).

Cf.

Scott, _Bridal of Triermain_.

] [34: _E.

g. Diary and Letters of Madame D'Arblay_, June 18, 1795;

Mathias, _Pursuits of Literature_, 14th ed.

1808, p. 56;

Scott, _Lives of the Novelists_; Extracts from the _Diary of a Lover of Literature_ (1810); Byron, _Childe Harold_, iv.

xviii.

;

Thackeray, _Newcomes_, chs.

xi.

, xxviii.

; Brontë, _Shirley_, ch. xxvii; Trollope, _Barchester Towers_, ch. xv.

, etc. ] [35: Family Letters, 1908. ] [36: Reprinted, Romancist and Novelist's Library.

] [37: _Journeys of Mrs. Radcliffe_, 2nd ed.

, 1795, vol. ii.

p. 171. ] [38: _Noctes Ambrosianae_, ed.

1855, vol. i.

p. 201. ] [39: Lecture on _The English Novelists_.

] [40: _Life and Correspondence of M. G.

Lewis_, 1839, i. 122. ] [41: _Life and Correspondence_, July 22nd, 1794. ] [42: Essay on _The State of German Literature_.

] [43: Southey, Preface to _Madoc_.

] [44: _Life and Correspondence_, Feb.

23, 1798. ] [45: Letter to John Murray, Aug.

23rd, 1814. ] [46: _Monthly Review_, June, 1797. ] [47: No. 148. ] [48: Cf.

Musaeus: _Die Entführung_.

] [49: _Marmion_, Canto ii.

Intro.

] [50: Reprinted, Romancist and Novelist's Library, vol. i.

1839. ] [51: _Essay on German Playwrights_.

] [52: _English Bards and Scotch Reviewers_ (1809).

] [53: Many of these were issued by B. Crosby, Stationers' Court.

] [54: _Recollections of the Table-Talk of Samuel Rogers_, 1856, p. 138. ] [55: Trans.

from the German of Christian August Vulpius.

] [56: Cf.

Thackeray, "Tunbridge Toys" (Roundabout Papers).

] [57: _English Bards and Scotch Reviewers_.

] [58: _Gentleman's Magazine_, 1825; and memoir prefixed to the edition of _Melmoth the Wanderer_, published in 1892. ] [59: Prose Works, 1851, vol. xviii.

] [60: _Letters and Memoir_, 1895, vol. i.

p. 101. ] [61: _Life_ (Melville), 1909, vol. i.

p. 79. ] [62: _Letters_, 2nd Series, 1872, vol. i.

p. 101. ] [63: Gustave Planche, _Portraits Littéraires_.

] [64: Cf.

Stevenson's _Bottle-Imp.

_] [65: _Edinburgh Review_, July 1821. ] [66: Conant, _The Oriental Tale in England_, pp. 36-38. ] [67: Conant, _The Oriental Tale in England_, pp. 36-38. ] [68: Letter to Henley, Jan.

29, 1782. ] [69: _Life and Letters_, Melville, 1910, p. 20. ] [70: _Life and Letters_, 1910, p. 20. ] [71: _Memoirs, Journal and Correspondence of Thomas Moore_, 1853, vol. ii.

p. 197. ] [72: Nov.

24, 1777, _Life and Letters_, p. 40. ] [73: Austen Leigh, _Memoir of Jane Austen_.

] [74: Letter to William Godwin, Dec.

7, 1817. ] [75: _William Godwin: His Friends and Contemporaries_.

Kegan Paul, 1876, vol. i.

p. 78. ] [76: Preface to _Fleetwood_, 1832. ] [77: Preface to _Fleetwood_, 1832. ] [78: Preface to _Fleetwood_, 1832, p. xi: "I read over a little old book entitled _The Adventures of Mme.

De St. Phale_, I turned over the pages of a tremendous compilation entitled _God's Revenge against Murder_, where the beam of the eye of omniscience was represented as perpetually pursuing the guilty...

I was extremely conversant with _The Newgate Calendar_ and _The Lives of the Pirates_.

I rather amused myself with tracing a certain similitude between the story of _Caleb Williams_ and the tale of _Bluebeard_;" and Preface to _Cloudesley_: "The present publication may in the same sense be denominated a paraphrase of the old ballad of the Children in the Wood."

] [79: Scott, Introduction to _The Abbot_, 1831. ] [80: _William Godwin: His Friends and Contemporaries_, 1876, vol. ii.

p. 304. ] [81: _Caleb Williams_, ch. x.

] [82: _William Godwin: His Friends and Contemporaries_, vol. i.

pp. 330-1. ] [83: _Political Justice_, bk.

ii, ch. ii.

] [84: _William Godwin: His Friends and Contemporaries_, vol. i.

pp. 330-1; Preface to 1st edition, 1799. ] [85: _Hermippus Redivivus_; or _The Sage's Triumph over Old Age and the Grave_ (translated from the Latin of Cohausen, with annotations), 1743. Dr. Johnson pronounced the volume "very entertaining as an account of the hermetic philosophy and as furnishing a curious history of the extravagancies of the human mind," adding "if it were merely imaginary it would be nothing at all."

] [86: _St.

Leon_, vol. iv.

ch, xiii.

] [87: _St.

Leon_, Bk.

iv, ch. v.

] [88: _Lives of the Necromancers_, 1834, Preface.

"The main purpose of this book is to exhibit a fair delineation of the credulity of the human mind.

Such an exhibition cannot fail to be productive of the most salutary lessons."

] [89: _St.

Godwin: A Tale of the 16th, 17th and 18th Century_, by Count Reginald de St. Leon, 1800, p. 234. ] [90: Dowden, _Life of Shelley_, vol. i.

p. 10. ] [91: Dowden, _Life of Shelley_, vol. i.

p. 44. ] [92: Hogg, _Life of Shelley_, vol. i.

p. 15. ] [93: Cf.

Castle of Lindenberg story in _The Monk_, and ballad of Alonzo the Brave.

] [94: A versification of the story of the Wandering Jew, Bleeding Nun and Don Raymond in _The Monk_.

] [95: This poem was borrowed from Lewis's _Tales of Terror_ (without Shelley's knowledge), where it is entitled _The Black Canon of Elmham, or St. Edmond's Eve_.

] [96: Letter to Edward Fergus Graham, Ap.

23, 1810 (_Letters_, ed.

Ingpen, 1909, vol. i, pp. 4-6).

] [97: Letter to John Joseph Stockdale, Nov.

14, 1810. ] [98: Mme.

de Montolieu, _Caroline de Lichfield_, translated by Thos.

Holcroft, 1786. ] [99: Mme.

de Genlis, translated by Rev. Beresford, 1796. ] [100: Peter Middleton Darling, _Romance of the Highlands_, 1810. ] [101: Regina Maria Roche, _The Discarded Son, or The Haunt of the Banditti_, 1806. ] [102: Agnes Musgrave, _Cicely, or The Rose of Raby_.

] [103: Aphra Behn, _The Nun_.

] [104: Charlotte Smith, _Ethelinde, or The Recluse of the Lake_, 1790. ] [105: _The Relapse: a novel_, 1780. ] [106: _Tales of the Hall_.

] [107: Crébillon, _Les Égarements du Coeur et de l'Esprit_.

] [108: _The Borough_, Ellen Orford, Letter xx.

] [109: _The Borough_, xx, ll.

56 _seqq.

_] [110: _Parish Register_.

] [111: _William and Helen_, 1796. ] [112: _House of Aspen_, 1799 (Keepsake, 1830).

_Doom of Devorgoil_, 1817 (Keepsake, 1830).

] [113: Scott, _Lives of the Novelists_ (on Clara Reeve and Mrs. Radcliffe and Maturin).

] [114: Keepsake, 1828. ] [115: Keepsake, 1828. ] [116: _Journal_, Feb.

23, 1826. ] [117: List of books read 1814-1816. ] [118: _Fantasmagoriana: ou Recueil d'Histoires d'Apparitions, de Spectres, de Revenans, trad.

d'Allemand par un Amateur_.

Paris, 1812. ] [119: _Diary of John William Polidori_, June 17, 1816. ] [120: Byron, _Letters and Journals_, 1899, iii.

446. Mary Shelley, _Life and Letters_, 1889, i. 586. Extract from Mary Shelley's _Diary_, Aug.

14, 1816. ] [121: Nov.

15, 1823, _Life and Letters of Mary Wollstonecraft Shelley_ (Marshall), ii.

52. ] [122: _Life and Letters_, ii.

88. ] [123: _Romancist and Novelist's Library_.

] [124: Reprinted in _Treasure House of Tales by Great Authors_, ed.

Garnett, 1891. ] [125: _Punch_, vol. x.

p. 31: "Says Ainsworth to Colburn A plan in my pate is To give my romance, as A supplement gratis.

Says Colburn to Ainsworth 'Twill do very nicely, For that will be charging Its value precisely."

] [126: _Life, Letters and Literary Remains_, 1883, vol. ii.

pp. 70 _seqq_.

] [127: _Dublin University Magazine_, 1862. "Forgotten Novels."

] [128: _Blackwood's Magazine_, 1830-1837. ] [129: _Within the Tides_, 1915. ] [130: Preface to _The Algerine Captive_ (Walpole, Vermont, 1797) quoted Loshe, _Early American Novel_, N. Y.

1907. ] [131: Preface to _Edgar Huntly_.

] [132: Peacock, _Memoirs of Shelley_.

] INDEX

_Abbey of Clunedale_, Drake's, 35. _Abbot_, Scott's, 109 note, 153. _Abdallah_, Tieck's, 65. _Abellino_, Zschokke's, 70. _Adam Blair_, Lockhart's, 207. Addison, Joseph, 5, 17, 69, 95, 222. _Adela Cathcart_, Macdonald's, 173. _Adventures of Abdallah_, Bignon's, 94, 96. _Adventures of Mme.

de St. Phale_, 109 note.

_After Dark_, Wilkie Collins', 190. Aikin, A. L.

(see Barbauld, Mrs. A.

L.

).

Aikin, Dr. J.

, 28. Aikin, Lucy, 28. Ainsworth, Harrison, 149, 174-177. _Alastor_, Shelley's, 127, 163. _Albigenses_, Maturin's, 82. _Alciphron_, Moore's, 117. _Algerine Captive_, 197 note.

_Alice in Wonderland_, Lewis Carroll's, 116. _All the Year Round_, 183, 190. _Almoran and Hamet_, Hawkesworth's, 95. _Alonzo and Melissa_, 197. _Alonzo the Brave_, Lewis's, n, 120 note.

_Amadas, Sir_, 4. _Amelia_, Fielding's, 134, 135. _Ancient Mariner_, Coleridge's, 9, 227. _Angelina_, Maria Edgeworth's, 133. _Annual Review_, 73. _Antiquary_, Scott's, 154. Apel, J. A.

, 174. _Apostate Nun_ (see _Convent of Grey Penitents)_.

_Apparitions, History and Reality of_, Defoe's, 5, 139. _Apparitions, History of_, Taylor's, 149. Apuleius, 13. _Arabian Nights_, 12, 94. _Ardinghello_, Heinse's, 65. _Arliss's Pocket Magazine_, 175. _Arlamène ou le Grand Cyrus_, Mme.

de Scudéry's, 222. _Arthur Mervyn_, C. B.

Brown's, 198. _Asylum or Alonzo and Melissa_, 197. _Auberge Rouge_, Balzac's, 203. _Auriol_, Ainsworth's, 176-177. Austen, Jane, 100, 125-133, 138, 140, 223. _Avenger_, De Quincey's, 174. _Avenging Demon_, Shelley's, 120. _Azemia_, Beckford's, 97. Babel, Tower of, 221. _Babes in the Wood_, 13, 109 note.

_Babylonica_, Iamblichus', 12. Ballad collections, 9. _Baltimore Saturday Visitor_, 214. Balzac, Honoré de, 86, 203. _Bandit of Florence_, 76. _Banditti of the Forest_, 76. _Barbastal, or the Magician of the Forest of the Bloody Ash_, 186. Barbauld, Mrs. A.

L.

, 28-31, 32, 33, 147. _Barchester Towers_, Trollope's, 38 note.

_Bard_, Gray's, 7. Barrett, E. S.

, 22, 79, 133-137, 138. Baudelaire, Charles, 86, 220. Beckford, William, 94-99, 118. Beggar Girl and her Benefactors, Mrs. Bennett's, 74, 134. Behn, Mrs. Aphra, 141 note, 222. _Benevolent Monk_, Melville's, 75. Bennett, Mrs. A.

M.

, 74. Bennett, Arnold, 227. Benson, E. F.

, 226. _Beowulf_, 2. _Berenice_, Poe's, 215. _Bertram_, Maturin's, 81, 149. _Betrothed_, Scott's, 153. _Bibliotheca Britannica_, Watt's, 75, 129. Bignon, Jean-Paul, 94. _Biographical Memoirs of Extraordinary Painters_, Beckford's, 97. _Black Canon of Elmham (Tales of Terror_), 120 note.

_Black Cat_, Poe's, 217. _Black Forest_, 76. Blackwood, Algernon, 226. _Blackwood's Magazine_, 34 note, 174, 182, 189, 190, 194. Blake, William, 31-32. _Blanche and Osbright_, Lewis's, 71. "Blind Harry," 21 note.

_Blithedale Romance_, Hawthorne's, 212. _Bloody Monk of Udolpho_, Horsley Curteis', 75. _Bluebeard_, 3, 13, 109 note.

_Boeotian_, 175. _Bold Dragoon_, Irving's, 201. Boleyn, Anne, 31. _Book for a Corner_, Leigh Hunt's, 28. _Borough_, Crabbe's, 142, 143. _Bosom-Serpent_, Hawthorne's, 206. _Bottle-Imp_, Stevenson's, 87 note.

Bovet, 14, 149. _Bravo of Bohemia_ or _Black Forest_, 76. _Bravo of Venice_, Lewis's, 70, 71, 125. _Bridal of Triermain_, Scott's, 34 note.

_Bride of Lammermoor_, Scott's, 81, 153. _Brigand Tales_, 186. Brontë, Charlotte, 38 note, 51, 224. Bronté, Emily, 224-225. Brown, Charles Brockden, 140, 188, 197-200. Browne, Sir Thomas, 5. Bulke, Sir George, 57. _Bullfrog, Mrs_.

, Hawthorne's, 206. Bunyan, John, 5. Bürger, Gottfried, II, 148, 200. Burney, Dr. Charles, 17. Burney, Fanny, 38 note, 135, 223. Burns, Robert, 8, 9. Burton, Robert, 5. Byron, Lord, 38 note, 55, 59, 72, 79, 81, 135, 158, 160, 167, 169, 171, 221. _Caleb Williams_, Godwin's, 13, 102-111, 168, 199, 218. _Caledonian Banditti_, 76. _Camilla_, Fanny Burney's, 134. Campbell, Dr. John, 112. Carlyle, Thomas, 65, 72. _Caroline of Lichfield_, Mme.

de Montolieu's, 134. Carroll, Lewis, 201. _Cask of Amontillado_, Poe's, 217, 220. _Castle Connor_, Clara Reeve's, 28. _Castle of Otranto_, Walpole's, 12, 16-23, 25, 27, 28, 29, 30, 31, 39, 40, 58, 77, 146, 221. _Castle of Wolfenbach_, Mrs. Parson's, 129. _Castles of Athlin and Dunbayne_, Mrs. Radcliffe's, 39-41, 45. _Castle Spectre_, Lewis's, 66, 149. _Castle without a Spectre_, Mrs. Hunter's, 76. Cazotte, Jacques, 68. _Cecilia_, Fanny Burney's, 134, 135. _Cenci_, Shelley's, 127. Cervantes, 222. _Chateau de Montville_, Sarah Wilkinson's, 77. _Cherubina, Adventures of_ (see _Heroine_).

_Childe Harold_, Byron's, 38 note.

_Children of the Abbey_, Mrs. Roche's, 22, 59, 129, 130, 134. _Chinese Tales_, Gueulette's, 94. _Christabel_, Coleridge's, 9, 10. "Christopher North" (Wilson, John), 192. _Cicely or The Rose of Raby_, Miss Agnes Musgrave's, 141 note.

_Clarissa Harlowe_, Richardson's, 46, 134, 140. _Clerk Saunders_, 3. _Clermont_, Mrs. Roche's, 129. _Cock Lane and Commonsense_, Andrew Lang's, 2 note.

"Cock Lane Ghost," 6. Coleridge, S. T.

, 9, 10, 66, 81. _Collectanea_, Leland's, 57. Collins, Wilkie, 190, 194, 225. Collins, William, 7, 8, 12, 35, 58. Colman, George, the younger, 109. Colman, George, the elder, 129, 222. Conant, Martha, 95 note.

_Confessions of a Fanatic_, Hogg's, 192. Conrad, Joseph, 194, 195, 227. _Contes de ma Mère Oie_, Perrault's, 12. _Convent of St. Ursula_, Miss Wilkinson's, 78. _Convent of the Grey Penitents_, Miss Wilkinson's, 74, 76, 77-78. Corelli, Marie, 226. _Corsair_, Byron's, 56. _Count of Narbonne_, Jephson's, 19. "Count Reginald de St. Leon," 116. Coverley, Sir Roger de, 5. Crabbe, George, 76, 140-144. Crébillon, C. P.

J.

, 141 note.

_Crichton_, Ainsworth's, 176. Croly, George, 118. Cruikshank, 176. Cunningham, Allan, 191-192. Curteis, T. J.

Horsley, 75. Dacre, Charlotte ("Rosa Matilda"), 75, 122. D'Arblay, Mme.

(see Burney, Fanny).

Darwin, Erasmus, 160. D'Aulnoy, Countess, 12. David, 2. _Death of Despina_, Mrs. Shelley's, 168. Defoe, Daniel, 5, 6, 139. _Delicate Distress_, 134. "Demon Frigate," 12. "Demon Lover," 2, 14. _Demonology and Witchcraft, Letters on_, Scott's, 149. _Demonology, Treatise on_, James I.' s, 4. De Quincey, 173-174. De Scudéry, Mme.

, 222. _Descent into the Maelstrom_, Poe's, 215. _Devil in Love_, Cazotte's, 68. _Diary of a Lover of Literature_, Green's, 38 note.

_Dice_, De Quincey's, 174. Dickens, Charles, 14, 59, 81, 190, 192, 193. _Discarded Son_, Mrs. Roche's, 140 note.

_Discovery of Witchcraft_, Scot's, 14, 147. Disraeli, Benjamin, 99. _Distress, Kinds of, which Excite Agreeable Sensations_, Barbauld's, 29. _Dr.

Dolliver's Romance_, Hawthorne's, 212-213. _Dr.

Grimshawe's Secret_, Hawthorne's, 212. _Dr.

Heidegger's Experiment_, Hawthorne's, 207. _Dr.

Jekyll and Mr. Hyde_, Stevenson's, 218. _Dr.

Marigold's Prescriptions_, Dickens', 194. _Don Quixote_, Cervantes', 222. _Doom of Devorgoil_, Scott's, 149 note.

_Douglas_, Home's, 8. Doyle, Sir A. Conan, 103, 218, 226. _Dracula_, Bram Stoker's, 2, 173, 225. Drake, Dr. Nathan, 32-37, 147. _Dream Children_, Lamb's, 193. _Dublin University Magazine_, 173, 186 note, 190, 191. Dumas, Alexandre, 175. _Edgar Huntly_, C. B.

Brown's, 197, 198, 199-200. Edgeworth, Maria, 133. _Edinburgh Review_, 87 note.

_Edmond, Orphan of the Castle_, 28. _Edward_, 34. _Edward Fane's Rosebud_, Hawthorne's, 205. _Egarements du Coeur et de l'Esprit_, Crébillon's, 141 note.

_Elegant Enthusiast_, Beckford's, 97. _Eleanora_, Poe's, 215. _Elixir de la Longue Vie_, Balzac's, 203. _Elixir des Teufels_, Hoffmann's, 70. _Elsie Venner_, Holmes', 207. Endor, Witch of, 2, 221. _English Bards and Scotch Reviewers_, Byron's, 72 note, 79. _English Chronicle_, 39. _English Novelists, Lectures on_, Hazlitt's, 62. _Entführung_, Musaeus', 68 note.