Ancestral Piles

2018 ◽  
pp. 519-541
Author(s):  
Sean Moreland
Keyword(s):  
Eighteenth Century ◽  
Mary Shelley ◽  
Sir Walter Scott ◽  
Charles Brockden Brown ◽  
William Godwin ◽  
Ann Radcliffe ◽  
Horace Walpole ◽  
Architectural Model ◽  
Walter Scott

This essay examines Poe’s conception and use of the Gothic via his engagements with the work of earlier writers from Horace Walpole through Ann Radcliffe, William Godwin, Charles Brockden Brown, Mary Shelley, and E. T. A. Hoffmann. Poe’s uses of the Gothic, and his relationship with the work of these writers, was informed by his philosophical materialism and framed by his dialogue with the writings of Sir Walter Scott. Tracing these associations reveals Poe’s transformation of the idea of “Gothic structure” from an architectural model, the ancestral pile of the eighteenth-century Gothic, to one of energetic transformation, the electric pile featured in many of Poe’s tales.

scholarly journals GLORIOSOS BASTARDOS E CASAMENTOS DESFEITOS: ANTIQUARIATO, PROVA E O SUBLIME EM HORACE WALPOLE, CLARA REEVE E ANN RADCLIFFE (1764-1791) * GLORIOUS BASTARDS AND BROKEN MARRIAGES: ANTIQUARIANISM, PROOF AND THE SUBLIME IN HORACE WALPOLE, CLARA REEVE AND ANN R

2015 ◽  
Vol 4 (3) ◽  
pp. 304
Author(s):  
Pedro Telles da Silveira
Keyword(s):  
Eighteenth Century ◽  
Ann Radcliffe ◽  
Horace Walpole ◽  
Gothic Novel ◽  
Historical Discourse ◽  
The Sublime ◽  
Methodological Procedures ◽  
Clara Reeve

<p><strong>Resumo</strong>: O objetivo deste artigo é compreender a relação entre a prática antiquária e o romance gótico na Inglaterra do século XVIII. Procura-se demonstrar como a prática antiquária serve de enquadramento ficcional para uma expansão do conceito de verossímil. Por meio do conjunto de procedimentos metodológicos do antiquário e de sua aproximação com a prática jurídica da época, elementos fantásticos que seriam inverossímeis passam a ser aceitos na trama do romance gótico. Estes elementos, por fim, abrem espaço para a experiência do sublime, de modo que o uso de procedimentos de prova e a escrita ficcional estavam intimamente ligados.  </p><p><strong>Palavras-chave</strong>: Antiquariato; Romance gótico; sublime. </p><p><strong>Abstract</strong>: This paper seeks to study the interrelation between antiquarian practices and the gothic novel in eighteenth-century England. It tries to show how antiquarianism provides a fictional framing for an expansion of the concept of verisimilitude. Because of the methodological procedures developed by the antiquarian and their rapprochement with the judicial practices of its time, fantastical elements that would be otherwise discarded as implausible are accepted in the gothic novel. Therefore those elements create the possibility of experiencing the sublime, so the procedures regarding the ascertainment of truth and proof of historical discourse are intimately entangled with fictional writing. </p><p><strong>Kewyords</strong>: Antiquarianism; Gothic novel; sublime.</p>

Simms and the British Dramatists

PMLA ◽  
1950 ◽  
Vol 65 (4) ◽  
pp. 346-359
Author(s):  
C. Hugh Holman
Keyword(s):  
Sir Walter Scott ◽  
James Fenimore Cooper ◽  
William Godwin ◽  
English Renaissance ◽  
Usual Practice ◽  
William Gilmore Simms ◽  
Walter Scott

That the works of William Godwin, Sir Walter Scott, and to some degree James Fenimore Cooper contributed significantly to the patterns, structures, and plots of William Gilmore Simms' novels has been generally accepted. It has not been pointed out, however, that one of the shaping influences on his handling of character and situation within the framework these writers contributed was the drama of the English Renaissance and Restoration. Its influence on his diction and on the uninhibited gusto of his writing has been noted,1 and the assumption that his greatest comic character, Porgy, was a direct imitation of Shakespeare's Falstaff has been made frequently.2 However, an examination of Simms' methods of characterization in his seven connected Revolutionary romances3—his most serious and ambitious novelistic project—reveals that the British dramatists were his tutors in more than diction and that Porgy, rather than being an exception to Simms' usual practice in characterization, is actually in keeping with his method and has but superficial similarities to Falstaff.

The Genius of Old Romance

2020 ◽  
pp. 263-308
Author(s):  
Helen Moore
Keyword(s):  
Literary History ◽  
Mary Shelley ◽  
Sir Walter Scott ◽  
Considerable Influence ◽  
Detailed Consideration ◽  
Robert Southey ◽  
Historical Authenticity ◽  
Edinburgh Review ◽  
Detailed Assessment ◽  
Walter Scott

In 1803 two new translations of Amadis were published: from French, by W. S. Rose, and from Spanish, by Robert Southey. It was through Southey’s editions of Amadis and Palmerin (1807), another Spanish romance, that Keats, Coleridge, Mary Shelley, and Hazlitt gained their knowledge of the genre. This chapter undertakes the first detailed consideration of Southey’s Amadis and demonstrates that it was heavily dependent upon Anthony Munday’s translation, to an extent not perceived at the time by the critics who praised Southey’s seemingly authentic Elizabethan diction. The translations of Southey and Rose were treated to a detailed assessment by Sir Walter Scott in the Edinburgh Review (1803) and exerted a considerable influence on Scott’s knowledge of medieval literary history and on his novels. The central themes of this chapter are the Romantic preoccupation with the medieval and Elizabethan periods, historical authenticity, and the recreation of the literary past.

Scottish Gothic and the Moving Image: A Tale of Two Traditions

2017 ◽  
pp. 181-194
Author(s):  
Duncan Petrie
Keyword(s):  
Eighteenth Century ◽  
Vantage Point ◽  
Ann Radcliffe ◽  
Gothic Literature ◽  
National Cinema ◽  
Horace Walpole ◽  
Gothic Fiction ◽  
Cultural Specificity ◽  
The Wanderer

The Gothic has long been acknowledged as a significant cultural influence within Britain’s cinematic heritage. Locating the roots of the British contribution to cinematic horror in the familiar literary terrain of classic Gothic fiction initiated in the late eighteenth century by Horace Walpole, Ann Radcliffe and M. G. Lewis, Pirie makes a persuasive case for the value of the genre and its centrality to the cultural specificity of a (then critically undervalued) ‘national’ cinema. But what is immediately striking from a contemporary, post-devolutionary vantage point is the Anglocentrism of the analysis as conveyed by the interchangeable use of the terms ‘English’ and ‘British’ throughout his book. Moreover, while acknowledging that ‘the role of Ireland in Gothic literature is immense’ (1973: 96), Pirie proceeds to co-opt C. R. Maturin’s Melmoth the Wanderer (1820) – for him a foundational text alongside Lewis’s The Monk (1796) – to a singularly English literary tradition.

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