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The Gothic Imagination: a Reader
- Kelly Butler
- 2 years ago
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1 The Gothic Imagination: a Reader Novels Horace Walpole, The Castle of Otranto (1764) William Beckford, Vathek (1786) Matthew Lewis, The Monk (1796) Ann Radcliffe, The Italian (1797) Mary Shelley, Frankenstein (1818) Jane Austen, Northanger Abbey (1818) Emily Brontë, Wuthering Heights (1847) Robert Louis Stevenson, Dr Jekyll and Mr Hyde (1886) Bram Stoker, Dracula (1897) Susan Hill, The Woman in Black (1983) Poetry Samuel Taylor Coleridge, Christabel (1816) John Keats, La Belle Dame sans Merci (1820) Edgar Allan Poe, The Raven, (1845) Christina Rossetti, Goblin Market (1862)
2 Horace Walpole From The Castle of 0tranto (I764) This is widely considered the first truly gothic novel. The nightmarish fear of being chased by a demonical character (Manfred) is powerfully captured here, and the setting and descriptive detail are definitively gothic. The lower part of the castle was hollowed into several intricate cloisters; and it was not easy for one under so much anxiety to find the door that opened into the cavern. An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors she had passed, and which grating on the rusty hinges were re-echoed through that long labyrinth of darkness. Every murmur struck her with new terror; yet more she dreaded to hear the wrathful voice of Manfred urging his domestics to pursue her. She trod as softly as impatience would give her leave, yet frequently stopped and listened to hear if she was followed. In one of those moments she thought she heard a sigh. She shuddered, and recoiled a few paces. In a moment she thought she heard the step of some person. Her blood curdled; she concluded it was Manfred. Every suggestion that horror could inspire rushed into her mind. She condemned her rash flight, which had thus exposed her to his rage in a place where her cries were not likely to draw any body to her assistance-vet the sound seemed not to come from behind; if Manfred knew where she was, he must have followed her: she was still in one of the cloisters, and the steps she had heard were too distinct to proceed from the way she had come. Cheered with this reflection, and hoping to find a friend in whoever was not the prince; she was going to advance, when a door that stood ajar, at some distance to the left, was opened gently; but ere her lamp, which she held up, could discover who opened it, the person recreated precipitately on seeing the light. Isabella, whom every incident was sufficient to dismay, hesitated whether she should proceed. Her dread of Manfred outweighed every other terror. The very circumstance of the person avoiding her, gave her a sort of courage. It could only be, she thought, some domestic belonging to the castle. Her gentleness had never raised her an enemy, and conscious innocence made her hope that, unless sent by the prince s order to seek her, his servants would rather assist than prevent her flight. Fortifying herself with these reflections, and believing, by what she could observe, that she was near the mouth of the subterraneous cavern, she approached the door that had been opened; but a sudden gust of wind that met her at the door extinguished her lamp, and left her in total darkness. Words cannot paint the horror of the princess s situation. Alone in so dismal a place, her mind imprinted with all the terrible events of the day, hopeless of escaping, expecting every moment the arrival of Manfred, and far from tranquil on knowing she was within reach of some body, she knew not whom, who for some cause seemed concealed thereabouts, all these thoughts crowded on her distracted mind, and she was ready to sink under her apprehensions. She addressed herself to every saint in heaven, and inwardly implored their assistance. For a considerable time she remained in an agony of despair. At last as softly as was possible, she fell for the door, and, having found it, entered trembling into the vault from whence she had heard the sigh and steps. It gave her a kind of momentary joy to perceive an imperfect ray of clouded moonshine gleam from the roof of the vault, which seemed to be fallen in, and from where hung a fragment of earth or building, she could not distinguish which, that appeared to have been crushed inwards. She advanced eagerly towards this chasm, when she discerned a human form standing close against the wall. She shrieked, believing it the ghost of her betrothed Conrad. The figure advancing, said in a submissive voice, Be not alarmed lady; I will not injure you. Isabella, a little encouraged by the words and tone of voice of the stranger, and recollecting that this must be the person who had opened the door, recovered her spirits enough to reply, Sir, whoever 1
3 you are, take pity on a wretched princess standing on the brink of destruction: assist me to escape from this fatal castle, or in a few moments I may be made miserable for ever. Alas! said the stranger, what can I do to assist you? I will die in your defence; but I am unacquainted with the castle, and want Oh! said Isabella, hastily interrupting him, help me but to find a trap-door that must be hereabout, and it is the greatest service you can do me; for I have not a minute to lose. Saying these words she felt about on the pavement, and directed the stranger to search likewise for a smooth piece of brass inclosed in one of the stones. That, said she, is the lock, which opens with a spring, of which I know the secret. If I can find that, I may escape if not, alas, courteous stranger, I fear I shall have involved you in my misfortunes: Manfred will suspect you for the accomplice of my flight, and you will fall a victim to his resentment. I value not my life, said the stranger; and it will be some comfort to lose it in trying to deliver you from his tyranny. Generous youth, said Isabella, how shall I ever requite As she uttered these words, a ray of moonshine streaming through a cranny of the ruin above shone directly on the lock they sought Oh, transport! said Isabella, here is the trap-door! and taking out a key, she touched the spring, which starting aside discovered an iron ring. Lift up the door, said the princess. The stranger obeyed; and beneath appeared some stone steps descending into a vault totally dark. We must go down here, said Isabella: follow me; dark and dismal as it is, we cannot miss our way; it leads directly to the church of Saint Nicholas-But perhaps, added the princess modestly, you have no reason to leave the castle, nor have I farther occasion for your service; in a few minutes I shall be safe from Manfred s rage only let me know to whom I am so much obliged. I will never quit you, said the stranger eagerly, till I have placed you in safety not think me, princess, more generous than I am: though you are my principal care-the stranger was interrupted by a sudden noise of voices that seemed approaching, and they soon distinguished these words: Talk not to me of necromancers; I tell you she must be in the castle; I will find her in spite of enchantment. Oh, heavens! cried Isabella, it is the voice of Manfred! Make haste, or we are ruined! and shut the trap-door after you. Saying this, she descended the steps precipitately; and as the stranger hastened to follow her, he let the door slip out of his hands; it fell and the spring closed over it. 2
4 William Beckford From Vathek (I786) This novel typifies the gothic fixation with the exotic in terms of setting and narrative: in this instance conjuring the mystery of the orient. This extract is largely descriptive, as is much of the text, and serves to remind the reader of Beckford s extravagant interest in all things architectural. The Caliph and Nouronihar beheld each other with amazement at finding themselves in a place which, though roofed with a vaulted ceiling, was so spacious and lofty, that at first they took it for an immeasurable plain. But their eyes at length growing familiar to the grandeur of the surrounding objects, they extended their view to those at a distance, and discovered rows of columns and arcades, which gradually diminishes, till they terminated in a point radiant as the sun when he darts his last beams athwart the ocean. The pavement, strewed over with gold dust and saffron, exhaled so subtle an odour as almost overpowered them. They, however, went on, and observed an infinity of censers, in which ambergris and the wood of aloes were continually burning. Between the several columns were placed tables, each spread with a profusion of viands, and wines of every species sparkling in vases of crystal. A throng of Genii and other fantastic spirits of either sex danced lasciviously at the sound of music which issued from beneath. In the midst of this immense hall, a vast multitude was incessantly passing, who severally kept their right hands on their hearts, without once regarding any thing around them: they had all the livid paleness of death. Their eyes, deep sunk in their sockets, resembled those phosphoric meteors that glimmer by night in places of interment. Some stalked slowly on, absorbed in profound reverie; some, shrieking with agony, ran furiously about like tigers wounded with poisoned arrows; whist others, grinding their teeth in rage, foamed along more frantic than the wildest maniac. They all avoided each other; and though surrounded by a multitude that no one could number, each wandered at random unheedful of the rest, as if alone on a desert where no foot had trodden. Vathek and Nouronihar, frozen with terror at a sight so baleful, demanded of the Giaour what these appearances might mean, and why these ambulating spectres never withdrew their hands from their hearts? Perplex not yourselves with so much at once, replied he bluntly; you will soon be acquainted with all: let us haste and present you to Eblis. They continued their way through the multitude: but, not withstanding their confidence at first, they were not sufficiently composed to examine with attention the various perspectives of halls and of galleries that opened on the right hand and left; which were all illuminated by torches and braziers, whose flames rose in pyramids to the centre of the vault. At length they came to a place where long curtains, brocaded with crimson and gold, fell from all parts in solemn confusion. Here the choirs and dances were heard no longer. The light which glimmered came from afar. After some time, Vathek and Nouronihar perceived a gleam brightening through the drapery, and entered a vast tabernacle hung round with the skins of leopards. An infinity of elders with streaming beards, and afrits in complete armour, had prostrated themselves before the ascent of a lofty eminence; on the top of which, upon a globe of fire, sat the formidable Eblis. His person was that of a young man, whose noble and regular features seemed to have been tarnished by malignant vapours. In his large eyes appeared both pride and despair; his flowing hair retained some resemblance to that of an angel of light. In his hand, which thunder had blasted, he swayed the iron sceptre that causes the monster Ouranabad, the afrits, and all the powers of the abyss to tremble. At his presence, the heart of the Caliph sunk within him; and he fell prostrate on his face. Nouronihar, however, though greatly dismayed, could not help admiring the person of Eblis; for she expected to have seen some stupendous giant. Eblis, with a voice more mild than might be imagined, but such as penetrated the soul and filled it with the deepest melancholy, said, Creatures of clay, I receive you into mine empire: ye are numbered amongst my adorers: enjoy whatever this palace affords: the treasures of the pre-adamite sultans, their fulminating sabres, and those talismans that compel the dives to open the subterranean expanses of the mountain of Kaf, which communicate with these. There, insatiable as your curiosity may be, shall you find sufficient objects to gratify it. You shall possess the exclusive privilege of entering the fortresses of Aherman, and the halls of Argenk, where are pourtrayed all creatures endowed with intelligence; and the various animals that inhabited the earth prior to the creation of that contemptible being whom ye denominate the father of mankind. 3
5 Matthew Lewis From The Monk (I796) Written in the I790s gothic heyday, and phenomenally successful, The Monk was so popular that it seemed to create an epoch in our literature (Sir Walter Scott). In the first extract, from early in the novel, the hero, Lorenzo, dreams of his beloved Antonia, only for a monstrous creature to intervene and subject her to his more lewd advances. By the time of the next passage, some 250 pages further, Ambrosio, the eponymous Monk, has come some way to embodying the fantastic creature of Lorenzo s dream, aided by the literally bewitching Matilda. The third extract typifies the anti-catholicism of so much gothic fiction, and the next shows the further stage of Ambrosio s descent into evil: his rape of the innocent, beautiful Antonia. The final excerpt, from the conclusion of the novel, describes the infernal punishment which awaits the now powerless Monk. The night was now fast advancing. The Lamps were not yet lighted. The faint beams of the rising Moon scarcely could pierce through the gothic obscurity of the Church. Lorenzo found himself unable to quit the Spot. The void left in his bosom by Antonia s absence and his Sister s sacrifice which Don Chrisloval had just recalled to his imagination, created that melancholy of mind, which accorded but too well with the religious gloom surrounding him. He was still leaning against the seventh column from the Pulpit. A soft and cooling air breathed along the solitary Aisles: The Moon-beams darting into the Church through painted windows, tinged the fretted roofs and massy pillars with a thousand various tints of light and colours: Universal silence prevailed around, only interrupted by the occasional closing of Doors in the adjoining Abbey. The calm of the hour and solitude of the place contributed to nourish Lorenzo s disposition to melancholy. He threw himself upon a seat which stood near him, and abandoned himself to the delusions of his fancy. He thought of his union with Antonia; He thought of the obstacles which might oppose his wishes; and a thousand changing visions floated before his fancy, sad tis true, but not unpleasing. Sleep insensibly stole over him, and the tranquil solemnity of his mind when awake, for a while continued to influence his slumbers. He still fancied himself to be in the Church of the Capuchins; but it was it longer dark and solitary. Multitudes of silver Lamps shed splendour From the vaulted Roof; Accompanied by the captivating chaunt of distant choristers, the Organ s melody swelled through the Church, the Altar seemed decorated as for some distinguished feast; it was surrounded by a brilliant Company; and near it stood Antonia arrayed in bridal white, and blushing with all the charms of Virgin Modesty. Half hoping, half fearing, Lorenzo gazed upon the scene before him. Sudden the door leading to the Abbey unclosed, and He saw, attended by a long train of Monks, the Preacher advance to whom He had just listened with so much admiration. He drew near Antonia. And where is the Bridegroom? said the imaginary Friar. Antonia seemed to look round the Church with anxiety. Involuntarily the Youth advanced a few steps from his concealment. She saw him; The blush of pleasure glowed upon her cheek; With a graceful motion of her hand She beckoned to him to advance. He disobeyed not the command; He flew towards her, and threw himself at her feet. She retreated for a moment; Then gazing upon him with unutterable delight; Yes! She exclaimed, My Bridegroom! My destined Bridegroom! She said, and hastened to throw herself into his arms; But before He had time to receive her, an Unknown rushed between them. His form was gigantic, His complexion was swarthy, His eyes fierce and terrible; his Mouth breathed out volumes of fire; and on his forehead was written in legible characters Pride! Lust! Inhumanity! Antonia shrieked. The Monster clasped her in his arms, and springing with her upon the Altar, tortured her with his odious caresses. She endeavoured in vain to escape from his embrace. Lorenzo flew to her succour, but ere He had time to reach her, a loud burst of thunder was heard. Instantly the Cathedral seemed crumbling into pieces; The Monks 4
6 betook themselves to flight, shrieking fearfully; The Lamps were extinguished, the Altar sank down, and in its place appeared an abyss vomiting forth clouds of flame. Uttering a loud and terrible cry the Monster plunged into the Gulph, and in his fall attempted to drag Antonia with him. He strove in vain. Animated by supernatural powers She disengaged herself from his embrace; But her white Robe left in his possession. Instantly a wing of brilliant splendour spread itself from either of Antonia s arms. She darted upwards, and while ascending cried to Lorenzo, Friend! we shall meet above! At the same moment the Roof of the Cathedral opened; Harmonious voices pealed along the Vaults, and the glory into which Antonia was received, was composed of rays of such dazzling brightness, that Lorenzo was unable to sustain the gaze. His sight failed, and He sank upon the ground. * * * * It was now that Ambrosio repented of his rashness. The solemn singularity of the charm had prepared him for something strange and horrible. He waited with fear for the Spirit s appearance, whose coming was announced by thunder and earthquakes. He looked wildly round him, expecting that some dreadful Apparition would meet his eyes, the sight of which would drive him mad. A cold shivering seized his body, and He sank upon one knee, unable to support himself. He comes! exclaimed Matilda in a joyful accent. Ambrosio started, and expected the Daemon with terror. What was his surprise, when the Thunder ceasing to roll, a full strain of melodious Music sounded in the air. At the same time the cloud dispersed, and He beheld a Figure more beautiful, than Fancy s pencil ever drew. It was a Youth seemingly scarce eighteen, the perfection of whose form and face was unrivalled. He was perfectly naked: A bright Star sparkled upon his fore-head; Two crimson wings extended themselves from his shoulders; and his silken locks were confined by a band of many-coloured fires, which played round his head, formed themselves into a variety of figures, and shone with a brilliance far surpassing that of precious Stones. Circlets of diamonds were fastened round his arms and ankles, and in his right hand He bore a silver branch, imitating Myrtle. His form shone with dazzling glory: He was surrounded by clouds of rose-coloured light, and at the moment that He appeared, a refreshing air breathed perfumes through the Cavern. Enchanted at a vision so contrary to his expectations, Ambrosio gazed upon the Spirit with delight and wonder: Yet however beautiful the Figure, He could not but remark a wildness in the Daemon s eyes, and a mysterious melancholy impressed upon his features, betraying the Fallen Angel, and inspiring the Spectators with secret awe. The Music ceased. Matilda addressed herself to the Spirit. She spoke in a language unintelligible to the Monk, and was answered in the same. She seemed to insist upon something, which the Daemon was unwilling to grant. He frequently darted upon Ambrosio angry glances, and at such lime the Friar s heart sank within him. Matilda appeared to grow incensed. She spoke in a loud and commanding tone, and her gestures declared, that She was threatening him with her vengeance. Her menaces had the desired effect: The Spirit sank upon his knee, and with a submissive air presented to her the branch of Myrtle. No sooner had She received it, than the Music was again heard. A thick cloud spread itself over the Apparition, The blue flames disappeared, and total obscurity reigned through the Cave. The Abbot moved not from his place. His faculties were all bound up in pleasure, anxiety, and surprise. At length the darkness dispersing, He perceived Matilda standing hear him in her religious habit, with the Myrtle in her hand. No traces of the incantation, and the Vaults were only illuminated by the faint rays of the sepulchral Lamp. * * * * 5
7 The Nuns were employed in religious duties established in honour of St. Clare, and to which no Prophane was ever admitted. The Chapelwindows were illuminated. As they stood on the outside, the Auditors heard the full swell of the organ, accompanied by a chorus of female voices, rise upon the stillness of the night. This died away, and was succeeded by a single strain of harmony. It was the voice of her who was destined to sustain in the procession the characters of St. Clare. For the office the most beautiful Virgin of Madrid was always selected, and She upon whom the choice fell, esteemed it as the highest of honours. While listening to the Music, whose melody distance only seemed to render sweeter, the audience was wrapped up in profound attention. Universal silence prevailed through the Crowd, and every heart was filled with reverence for religion. Every heart but Lorenzo s. Conscious that among those who chuanted the praises of their God so sweetly, there were some who cloaked with devotion the foulest sins, their hymns inspired him with detestation at their Hypocrisy. He had long observed with disapprobation and contempt the superstition, which governed Madrid s Inhabitants. His good sense had pointed out to him the artifices of the Monks, and the gross absurdity of their miracles, wonders and supposititious reliques. He blushed to see his Countrymen the Dupes of deceptions so ridiculous, and only wished for an opportunity to free them from their monkish fetters. That opportunity, so long desired in vain, was at length presented to him. He resolved not to let it slip, but to set before the People in glaring colours, how enormous were the abuses but too frequently practised in Monasteries, and how unjustly public esteem was bestowed indiscriminately upon all who wore a religious habit. He longed for the moment destined to unmask the Hypocrites, and convince his Countrymen, that a sanctified exterior does not always hide a virtuous heart. * * * * With every moment the Friar s passion became more ardent, and Antonia s terror more intense. She struggled to disengage herself from his arms. Her exertions were unsuccessful; and finding that Ambrosio s conduct became still freer. She shrieked for assistance with all her strength. The aspect of the Vault, the pale glimmering of the Lamp, the surrounding obscurity, the sight of the Tomb, and the objects of mortality which met her eyes of either side, were ill-calculated to inspire her with those emotions, by which the Friar was agitated. Even his caresses terrified her from their fury, and created no other sentiment than fear. On the contrary, her alarm, her evident disgust, and incessant opposition, seemed only to inflame the Monk s desires, and supply his brutality with additional strength. Antonia s shrieks were unheard. Yet She continued them, nor abandoned her endeavours to escape, till exhausted and out of breath She sank from his arms upon her knees, and once more had recourse to prayers and supplications. This attempt had no better success than the former. On the contrary, taking advantage of her situation, the Ravisher threw himself by her side. He clasped her to his bosom almost lifeless with terror, and faint with struggling. He stifled her cries with kisses, treated her with the rudeness of an unprincipled Barbarian, proceeded from freedom to freedom, and in the violence of his lustful delirium, wounded and bruised her tender limbs. Heedless of her tears, cries and entreaties, He gradually made himself Master of her person, and desisted not from his prey, till He had accomplished his crime and the dishonour of Antonia. Scarcely had He succeeded in his design, than He shuddered at himself and the means by which it was effected. The very excess of his former eagerness to possess Antonia now contributed to inspire him with disgust; and a secret impulse made him feel, how base and unmanly was the crime, which He had just committed. He started hastily From her arms. She, who had so lately been the object of his adoration, now raised no other sentiment in his heart than aversion and rage. He turned away from her; or if his eyes rested upon her 6
8 figure involuntarily, it was only to dart upon her looks of hate. The Unfortunate had fainted ere the completion of her disgrace: She only recovered life to be sensible of her misfortune. She remained stretched upon the earth in silent despair: The tears chased each other slowly down her cheeks, and her bosom heaved with frequent sobs. Oppressed with grief, She continued for some time in this state of torpidity. At length She rose with difficulty, and dragging her feeble steps towards the door, prepared to quit the dungeon. * * * * The Fiend answered with a malicious laugh: Our contract? Have I not performed my part? What more did I promise than to save you from your prison? Have I not done so? Are you not safe from the Inquisition-safe from all but from me? Fool that you were to confide yourself to a Devil! Why did you not stipulate for life, and power, and pleasure? Then all would have been granted: Now your reflections come too late. Miscreant, prepare for death; You have not many hours to live! On hearing this sentence, dreadful were the feelings of the devoted Wretch! He sank upon his knees, and raised his hands towards heaven. The Fiend read his intention and prevented it What? He cried, darting at him a look of fury: Dare you still implore the Eternal s mercy? Would you feign penitence, and again act an Hypocrite s part? Villain, resign your hopes of pardon. Thus I secure my prey! As He said this, darting his talons into the Monk s shaven crown, He sprang with him from the rock. The Caves and mountains rang with Ambrosio s shrieks. The Daemon continued to soar aloft, till reaching a dreadful height, He released the sufferer. Headlong fell the Monk through the airy waste; and He rolled from precipice to precipice, till bruised and mangled He rested on the river s banks. Life still existed in his miserable frame. He attempted in vain to raise himself; His broken and dislocated limbs refused to perform their office, nor was He able to quit the post where He had first fallen. The sun now rose above the horizon; Its scorching beams darted full upon the head of the expiring Sinner. Myriads of insects were called forth by the warmth. They drank the blood which trickled from Ambrosio s wounds. He had no power to drive them from him, and they fastened upon his sores, darted their stings into his body, covered him with their multitudes, and inflicted on him tortures the most exquisite and insupportable. The Eagles of the rock tore his flesh piecemeal, and dug out his eye-balls with their crooked beaks. A burning thirst tormented him; He heard the river s murmur as it rolled beside him, but strove in vain to drag himself towards the sound. Blind, maimed, helpless, and despairing, venting his rage in blasphemy and curses, execrating his existence, yet dreading the arrival of death destined to yield him up to greater torments, six miserable days did the Villain [anguish. On the Seventh a violent storm arose: The winds in fury rent up rocks and forests: The sky was now black with clouds, now sheeted with fire: The rain fell in torrents; It swelled the stream; The waves overflowed their banks; They reached the spot where Ambrosio lay, and when they abated carried with them into the river the Corse of the despairing Monk. 7
9 Ann Radcliffe From The Italian (I797) Ann Radcliffe s novel may be seen as something of a riposte to The Monk, which she saw as excessively horrific. Certainly The Italian is milder, but it has its moments: the first extract helps create the rather eerie atmosphere; the second is laden with typically gothic intimations of doom and despair, despite the actual setting of Vivaldi s wedding. Vivaldi again examined the walls, and as unsuccessfully as before; but in one corner of the vault lay an object, which seemed to tell the fate of one who had been confined here, and to hint his own: it was a garment covered with blood. Vivaldi and his servant discovered it at the same instant; and a dreadful foreboding of their own destiny fixed them, for some moments, to the spot. Vivaldi first recovered himself, when instead of yielding to despondency, all his faculties were aroused to devise some means for escaping; but Paulo s hopes seemed buried beneath the dreadful vestments upon which he still gazed. `Ah, my Signor! said he, at length, in a faultering accent, who shall dare to raise that garment? What if it should conceal the mangled body whose blood has stained it! Vivaldi, shudderingly, turned to look on it again. It moves! exclaimed Paulo; I see it move! as he said which, he started to the opposite side of the chamber. Vivalcli stepped a few paces back, and as quickly returned; when, determined to know the event at once, he raised the garment upon the point of his sword, and perceived, beneath, other remains of dress, heaped high together, while even the floor below was stained with gore. Believing that fear had deceived the eyes of Paulo, Vivaldi watched this horrible spectacle for some time, but without perceiving the least motion; when he became convinced, that not any remains of life were shrouded beneath it, and that it contained only articles of dress, which had belonged to some unfortunate person, who had probably been decoyed hither for plunder, and afterwards murdered. This belief, and the repugnance he fell to dwell upon the spectacle, prevented him from examining further, and he turned away to a remote part of the vault. A conviction of his own fate and of his servant s filled his mind for a while with despair. It appeared that he had been ensnared by robbers, till, as he recollected the circumstances which had attended his entrance, and the several peculiar occurrences connected with the arch-way this conjecture seemed highly improbable. It was unreasonable, that robbers should have taken the trouble to decoy, when they might at first have seized him; still more so, that they would have persevered so long in the attempt; and most of all, that when he had formerly been in their power, they should have neglected their opportunity, and suffered him to leave the ruin unmolested. Yet granting that all this, improbable as it was, were, however, possible, the solemn warnings and predictions of the monk, so frequently delivered, and so faithfully fulfilled, could have no connection with the schemes of banditti. It appeared, therefore, that Vivaldi was not in the hands of robbers; or, if he were, that the monk, at least, had no connection with them; yet it was certain that he had just heard the voice of this monk beneath the arch; that his servant had said, he saw the vestments of one ascending the steps of the fort; and that they had both reason, afterward, to believe it was his shadowy figure which they had pursued to the very chamber where they were now confined. As Vivaldi considered all these circumstances, his perplexity encreased and he was more than ever inclined to believe, that the form, which had assumed the appearance of a monk, was something superhuman. If this being had appeared only, said he to himself, I should, perhaps, have thought it the perturbed spirit of him, who doubtless has been murdered here, and that it led me hither to discover the deed, that his bones might be removed to holy ground; but this monk, or whatever it is, was neither silent, nor apparently anxious concerning himself; he spoke 8
10 only of events connected with my peace, and predicted of the future, as well as reverted to the past! If he had either hinted of himself, or had been wholly silent, his appearance, and manner of eluding pursuit, is so extraordinary, that I should have yielded, for once, perhaps, to the tales of our grandfathers, and thought he was the spectre of a murdered person. * * * * As Vivaldi expressed his incredulity, however, he returned to examine the garment once more, when, as he raised it, he observed, what had before escaped his notice, black drapery mingled with the heap beneath; and, on lifting this also on the point of his sword, he perceived part of the habiliment of a monk! He started at the discovery, as if he had seen the apparition, which had so long been tempting his credulity. Here were the vest and scapulary, rent and stained with blood! Having gazed for a moment, he let them drop upon the heap; when Paulo, who had been silently observing him, exclaimed, Signor! that should be the garment of the demon who led us hither Is it a winding-sheet for us, Maestro? Or was it one For the body he inhabited while on earth! * * * * As the appointed hour drew near, her spirits sunk, and she watched with melancholy foreboding, the sun retiring amidst stormy clouds, and his rays fading from the highest points of the mountains, till the gloom of twilight prevailed over the scene. She then left her apartment, took a grateful leave of the hospitable Abbess, and attended by the lay-sister, quitted the convent. Immediately without the gate she was met by Vivaldi, whose look, as he put her arm within his, gently reproached her for the dejection of her air. They walked in silence towards the chapel of San Sebastian. The scene appeared to sympathize with the spirit of Ellena. It was a gloomy evening, and the lake, which broke in dark waves upon the shore, mingled its hollow sounds with those of the wind, that bowed the lofty pines, and swept in gusts among the rocks. She observed with alarm the heavy thunder clouds, that rolled along the sides of the mountains, and the birds circling swiftly over the waters, and scudding away to their nests among the cliffs; and she noticed to Vivalcli, that, as a storm seemed approaching, she wished to avoid crossing the lake. He immediately ordered Paulo to dismiss the boat, and to be in waiting with a carriage, that, if the weather should become clear, they might not be detained longer than was otherwise necessary. As they approached the chapel, Ellena fixed her eyes on the mournful cypresses which waved over it, and sighed. Those, she said, are funereal mementos-not such as should grace the altar of marriage! Vivalcli, I could be superstitious-think you not they are portentous of future misfortune? But forgive me; my spirits are weak. Vivaldi endeavoured to soothe her mind, and tenderly reproached her for the sadness she indulged. Thus they entered the chapel. Silence, and a kind of gloomy sepulchral light, prevailed within. The venerable Benedictine, with a brother, who was to serve as guardian to the bride, were already there, but they were kneeling, and engaged in prayer. Vivaldi led the trembling Ellena to the altar, where they waited till the Benedictines should have finished, and these were moments of great emotion. She often looked round the dusky chapel, in fearful expectation of discovering some lurking observer, and, though she knew it to be very improbable, that any person in this neighbourhood could be interested in interrupting the ceremony, her mind involuntarily admitted the possibility of it. Once, indeed, as her eyes glanced over a casement, Ellena fancied she distinguished a human face laid close to the glass, as if to watch what was passing within; but when she looked again, the apparition was gone. Notwithstanding this, she listened with anxiety to the uncertain sounds without, and sometimes started as the surges of the lake dashed over 9
11 the rock below, almost believing she heard the steps and whispering voices of men in the avenues of the chapel. She tried, however, to subdue apprehension, by considering, that if this were true, an harmless curiosity might have attracted some inhabitants of the convent hither, and her spirits became more composed, till she observed a door open a little way, and a dark countenance looking from behind it. In the next instant it retreated, and the door was closed. 10
12 Samuel Taylor Coleridge From Christabel (I8I6) This is the opening of Coleridge s unfinished poem, setting the scene and introducing the chief characters - including the ominously, but attractively, mysterious Geraldine. The theme of seduction and subsequent corruption of innocence, through the agency of magic, has a strongly gothic dimension. Tis the middle of night by the castle clock, And the owls have awakened the crowing cock; Tu whit! To Whoo! And hark, again! the crowing cock, How drowsily it crew. Sir Leoline, the Baron rich, Hath a toothless mastiff bitch; From her kennel beneath the rock She maketh answer to the clock, Four for the quarters, and twelve for the hour; Ever and aye, by shine and shower, Sixteen short howls, not over loud; Some say, she sees my lady s shroud. Is the night chilly and dark? The night is chilly but not dark. The thin gray cloud is spread on high, It covers but not hides the sky. The moon is behind, and at the full; And yet she looks both small and dull. The night is chill, the cloud is gray: Tis a month before the month of May, And the Spring comes slowly up this way. The lovely lady, Christabel, Whom her father loves so well, What makes her in the wood so late, A furlong from the castle gate? She had dreams all yesternight Of her own betrothéd knight; And she in the midnight wood will pray For the weal of her lover that s far away. She stole along, she nothing spoke, The sighs she heaved were soft and low, And naught was green upon the oak But moss and rarest mistletoe: She kneels beneath the huge oak tree, And in silence prayeth she. The lady sprang up suddenly, The lovely lady, Christabel! It moaned as near, as near can be, But what it is she cannot tell On the other side it seems to be, 11
13 Of the huge, broad-breasted, old oak tree. The night is chill; the forest bare; Is it the wind that moaneth bleak? There is not wind enough in the air To move away the ringlet curl From the lovely lady s cheek There is not wind enough to twirl The one red leaf, the last if its clan, That dances as often as dance it can, Hanging so light, and hanging so high, On the topmost twig that looks up at the sky. Hush, beating heart of Christabel! Jesu, Maria, shield her well! She folded her arms beneath her cloak, And stole to the other side of the oak. What sees she there? There she sees a damsel bright, Drest in a silken robe of white, That shadowy in the moonlight shone: The neck that made that white robe wan, Her stately neck, and arms were bare; Her blue-veined feet unsandal d were, And wildly glittered here and there The gems entangled in her hair. I guess, twas frightful there to see A lady so richly clad as she Beautiful exceedingly! 12
14 Mary Shelley From Frankenstein (I818) Frankenstein is of course one of the most famous gothic novels, and has been referred to many times in this book. Here, Frankenstein beholds with horror the fruits of his labours: the unnamed Creature. His subsequent dream, mingling disgust with desire, is also quintessentially gothic. It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. II was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs. How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! - Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips. The different accidents of life are not so changeable as the feelings of human nature. I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room, and continued a long time traversing my bedchamber, unable to compose my mind to sleep. At length lassitude succeeded to the tumult I had before endured; and I threw myself on the bed in my clothes, endeavouring to seek a few moments of forgetfulness. But it was in vain: I slept, indeed, but I was disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her; but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave-worms crawling in the folds of the flannel. I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed: when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch - the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped, and rushed down stairs. I took refuge in the courtyard belonging to the house which I inhabited; where I remained during the rest of the night, walking up and down in the greatest agitation, listening attentively, catching and fearing each sound as if it were to announce the approach of the demoniacal corpse to which I had so miserably given life. Oh! no mortal could support the horror of that countenance. A mummy again endued with animation could not be so hideous as that wretch. I had gazed on him while unfinished; he was ugly then; but when those muscles and joints were rendered capable of motion, it became a thing such as even Dante could not have conceived. I passed the night wretchedly. Sometimes my pulse beat so quickly and hardly that I felt the palpitation of every artery; at others, I nearly sank to the ground through languor and extreme weakness. Mingled with this horror, I felt the bitterness of disappointment; dreams that had been my food and pleasant rest for so long a space were now become a hell to me; and the change was so rapid, the overthrow so complete! 13
15 Jane Austen From Northanger Abbey (I8I8) Jane Austen, not really considered a gothic author, wrote Northanger Abbey as a parody of the gothic writers and readers she had encountered. In this excerpt, her heroine, Catherine, immersed as she is in the gothic, allows her imagination to run wild in the appropriate setting of Northanger Abbey at night. The night was stormy; the wind had been rising at intervals the whole afternoon; and by the time the party broke up, it blew and rained violently. Catherine, as she crossed the hall, listened to the tempest with sensations of awe; and, when she heard it rage round a corner of the ancient building and close with sudden fury a distant door, felt for the first time that she was really in an Abbey. Yes, these were characteristic sounds; they brought to her recollection a countless variety of dreadful situations and horrid scenes, which such buildings had witnessed, and such storms ushered in; and most heartily did she rejoice in the happier circumstances attending her entrance within walls so solemn! She had nothing to dread from midnight assassins or drunken gallants. Henry had certainly been only in jest in what he had told her that morning. In a house so furnished, and so guarded, she could have nothing to explore or to suffer; and might go to her bedroom as securely as if it had been her own chamber at Fullerton. Thus wisely fortifying her mind, as she proceeded up stairs, she was enabled, especially on perceiving that Miss Tilney slept only two doors from her, to enter her room with a tolerably stout heart; and her spirits were immediately assisted by the cheerful blaze of a wood fire. How much better is this said she, as she walked to the fender how much better to find a fire ready lit, than to have to wait shivering in the cold till all the family are in bed, as so many poor girls have been obliged to do, and then to have a faithful old servant frightening one by coming in with a faggot! How glad I am that Northanger is what it is! If it had been like some other places, I do not know that, in such a night as this, I could have answered for my courage: but now, to be sure, there is nothing to alarm one. She looked round the room. The window curtains seemed in motion. It could be nothing but the violence of the wind penetrating through the divisions of the shutters; and she stepped boldly forward, carelessly humming a tune, to assure herself of its being so, peeped courageously behind each curtain, saw nothing on either low window seat to scare her, and on placing a hand against the shutter, felt the strongest conviction of the wind s force. A glance at the old chest, as she turned away from this examination, was not without its use; she scorned the causeless fears of an idle fancy, and began with a most happy indifference to prepare herself for bed. She should take her time; she should not hurry herself; she did not care if she were the last person up in the house. But she would not make up her fire; that would seem cowardly, as if she wished for the protection of light after she were in bed. The fire, therefore, died away, and Catherine, having spent the best part of an hour in her arrangements, was beginning to think of stepping into bed, when, on giving a parting glance round the room, she was struck by the appearance of a high, old fashioned black cabinet, which, though in a situation conspicuous enough, had never caught her notice before. Henry s words, his description of the ebony cabinet which was to escape her observation at first, immediately rushed across her; and though there could be nothing really in it, there was something whimsical, it was certainly a very remarkable coincidence! She took her candle and looked closely at the cabinet. It was not absolutely ebony and gold; but it was Japan, black and yellow Japan of the handsomest kind; and as she held her candle, the yellow had very much the effect of gold. The key was in the door, and she had a strange fancy to look into it; not however with the smallest expectation of finding anything, but it was so very odd, after what Henry had said. In short, she could not sleep till she had examined it. So, placing the candle with great caution on a chair, she seized the key with a very tremulous hand and tried to turn it; but it resisted her utmost strength. Alarmed, but not discouraged, she tried it another way; a bolt flew, and she believed herself successful but how strangely mysterious! the door was still immoveable. She paused a moment in breathless wonder. The wind roared down the chimney, the rain beat in torrents against the windows, and everything seemed to speak the awfulness of her situation. To retire to bed, however, unsatisfied on such a point, would be vain, since sleep must be impossible with the consciousness of a cabinet so mysteriously closed in her immediate vicinity. Again therefore she applied herself to the key, and after moving it in every possible way for some instants 14
16 with the determined celerity of hope s last effort, the door suddenly yielded to her hand: her heart leaped with exultation at such a victory, and having thrown open each folding door, the second being secured only by bolts of less wonderful construction than the lock, though in that her eye could not discern any thing unusual, a double range of small drawers appeared in view, with some larger drawers above and below them, and in the centre, a small door, closed also with lock and key, secured in all probability a cavity of importance. Catherine s heart beat quick, but her courage did not fail her. With a cheek flushed by hope, and an eye straining with curiosity, her fingers grasped the handle of a drawer and drew it forth. It was entirely empty. With less alarm and greater eagerness she seized a second, a third, a fourth; each was equally empty. Not one was left unsearched, and in not one was anything found. Well read in the art of concealing a treasure, the possibility of false linings to the drawers did not escape her, and she felt round each with anxious acuteness in vain. The place in the middle alone remained now unexplored; and though she had never from the first had the smallest idea of finding any thing in any part of the cabinet, and was not in the least disappointed at her ill success thus far, it would be foolish not to examine it thoroughly while she was about it. It was some time however before she could unfasten the door, the same difficulty occurring in the management of this inner lock as of the outer; but at length it did open; and not in vain, as hitherto, was her search; her quick eyes directly fell on a roll of paper pushed back into the further part of the cavity, apparently for concealment, and her feelings at that moment were indescribable. Her heart fluttered, her knees trembled, and her cheeks grew pale. She seized, with an unsteady hand, the precious manuscript, for half a glance sufficed to ascertain written characters; and while she acknowledged with awful sensations this striking exemplificaton of what Henry had foretold, resolved instantly to peruse every line before she attempted to rest. The dimness of the light her candle emitted made her turn to it with alarm; but there was no danger of its sudden extinction, it had yet some hours to burn; and that she might not have any greater difficulty in distinguishing the writing than what its ancient date might occasion, she hastily snuffed it. Alas! it was snuffed and extinguished in one. A lamp could not have expired with more awful effect. Catherine, for a few moments, was motionless with horror. It was done completely; not a remnant of light in the wick could give hope to the rekindling breath. Darkness impenetrable and immoveable filled the room. A violent gust of wind, rising with sudden fury, added fresh horror to the moment. Catherine trembled from head to foot. In the pause which succeeded, a sound like receding footsteps and the closing of a distant door struck on her affrighted ear. Human nature could support no more. A cold sweat stood on her forehead, the manuscript fell from her hand, and groping her way to the bed, she jumped hastily in, and sought some suspension of agony by creeping far underneath the clothes. To close her eyes in sleep that night, she felt must be entirely our of the question. With a curiosity so justly awakened, and feelings in every way so agitated, repose must be absolutely impossible. The storm too abroad so dreadful! She had not been used to feel alarm from wind, but now every blast seemed fraught with awful intelligence. The manuscript so wonderfully found, so wonderfully accomplishing the morning s prediction, how was it to be accounted for? What could it contain? to whom could it relate? by what means could it have been so long concealed? and how singularly strange that it should fall to her lot to discover it! Till she had made herself mistress of its contents, however, she could have neither repose nor comfort; and with the sun s first rays she was determined to peruse it. But many were the tedious hours which must yet intervene. She shuddered, tossed about in her bed, and envied every quiet sleeper. The storm still raged, and various were the noises, more terrific even than the wind, which struck at intervals on her startled ear. The very curtains of her bed seemed at one moment in motion, and at another the lock of her door was agitated, as if by the attempt of somebody to enter. Hollow murmurs seemed to creep along the gallery, and more than once her blood was chilled by the sound of distant moans. Hour after hour passed away, and the wearied Catherine had heard three proclaimed by all the clocks in the house, before the tempest subsided, or she unknowingly fell fast asleep. 15
17 John Keats La Belle Dame sans Mer (I820) The poet Robert Graves, in The White Goddess (I948) described this poem as representing Love, Death... and Poetry all at once. Again, beauty is both seductive and deceptive in true gothic style. O what can ail thee, knight-at-arms, Alone and palely loitering? The sedge has withered from the lake, And no birds sing. O what can ail thee, knight-at-arms, So haggard and so woe-begone? The squirrel s granary is full, And the harvest s done. I see a lily on thy brow With anguish moist and fever dew, And on thy cheeks a fading rose Fast withereth too. I met a lady in the meads, Full beautiful a faery s child, Her hair was long, her foot was light, And her eyes were wild. I made a garland for her head, And bracelets too, and fragrant zone; She looked at me as she did love, And made sweet moan. I set her on my pacing steed, And nothing else saw all day long, For sidelong would she bend, and sing A faery s song. She found me roots of relish sweet, And honey wild, and manna dew, And sure in language strange she said I love thee true. She took me to her elfin grot, And there she wept, and sighed full sore, And there I shut her wild wild eyes With kisses four. And there she lulled me asleep, And there I dreamed ah, woe betide! The latest dream I ever dream d On the cold hill s side. I saw pale kings and princes too, Pale warriors, death-pale were they all; They cried La Belle Dame sans Merci Hath thee in thrall! I saw their starved lips in the gloam, With horrid warning gapèd wide, And I awoke and found me here, On the cold hill s side. And this is why I sojourn here, Alone and palely loitering, Though the sedge is withered from the lake, And no birds sing. 16
18 Edgar Allan Poe The Raven (I845) A characteristic example of Poe s imaginative use of gothic imagery: apparently bleak, doom-laden, enigmatic, dream-like and yet at the same time strangely appealing. The first-person narrative style gives the poem a rather more intimate feel than the previous examples of gothic-inspired verse. Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore While I nodded, nearly napping, suddenly there came a tapping, As of someone gently rapping, rapping at my chamber door Tis some visitor, I muttered, tapping at my chamber door Only this and nothing more. Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; vainly I had sought to borrow From my books surcease of sorrow sorrow for the lost Lenore For the rare and radiant maiden whom the angels name Lenore Nameless here for evermore. And the silken, sad, uncertain rustling of each purple curtain Thrilled me filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating, Tis some visitor entreating entrance at my chamber door Some late visitor entreating entrance at my chamber door This it is and nothing more. Presently my soul grew stronger; hesitating then no longer, Sir, said I, or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you here I opened wide the door Darkness there and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, Lenore? This I whispered, and an echo murmured back the word, Lenore! Merely this and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. Surely, said I, surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore Let my heart be still a moment and this mystery explore Tis the wind and nothing more! Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door Perched upon a bust of Pallas just above my chamber door Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, 17
19 By the grave and stern decorum of the countenance it wore, Though thy crest be shorn and shaven, thou, I said, art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore Tell me what thy lordly name is on the Night s Plutonian shore! Quoth the Raven, Nevermore. Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning-little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door Bird or beast upon the sculptured bust above his chamber door, With such name as Nevermore. But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered not a feather then he fluttered Till I scarcely more than muttered, Other friends have flown before On the morrow he will leave me, as my Hopes have flown before. Then the bird said, Nevermore. Startled at the stillness broken by reply so aptly spoken, Doubtless, said I, what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore Till the dirges of his Hope that melancholy burden bore Of Never-nevermore. But the Raven still beguiling my sad fancy into smiling, Straight I wheeled a cushioned seat in front of bird and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking Nevermore. This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom s core; This and more I sat divining, with my head at ease reclining On the cushion s velvet lining that the lamplight gloated o er, But whose velvet-violet lining with the lamplight gloating o er, She shall press, ah, nevermore! Then, methought, the air grew denser, perfumed from an unseen censer Swung by seraphim whose footfalls tinkled on the tufted floor. Wretch, I cried, thy God hath lent thee-by these angels he hath sent thee Respite respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore! Quoth the Raven, Nevermore. Prophet! said I, thing of evil!-prophet still, if bird or devil! Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted On this home by Horror haunted-tell me truly, I implore Is there is there balm in Gileaffl tell me tell me, I implore! Quoth the Raven, Nevermore. Prophet! said I, thing of evil!-prophet still, if bird or devil! By that Heaven that bends above us-by that God we both adore 18
20 Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore Clasp a rare and radiant maiden whom the angels name Lenore. Quoth the Raven, Nevermore. Be that word our sign of parting, bird or fiend! I shrieked, upstarting Get thee back into the tempest and the Night s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door! Quoth the Raven, Nevermore. And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon s that is dreaming, And the lamplight o er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted-nevermore! 19
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text:
A fascinating introduction to the key concepts and ideas of game theory.
A fascinating introduction to the key concepts and ideas of game theory.
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subset: commoncrawl


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Glee cutie Darren Criss was seeing red during his Beverly Hills afternoon outing on Thursday.
What a treat to see the "Teenage Dream" a capella crooner out of his usual prep school uniform!
Click through to for the eye candy of Darren's outing and tell us in the comments – should he and Kurt date on Glee?


text:
- Xenopterygii
- Xenopterygii Xe*nop`te*ryg"i*i, n. pl. [NL., from Gr. xe`nos strange + ?, dim. of ? a wing.] (Zo["o]l.) A suborder of fishes including {Gobiesox} and allied genera. These fishes have soft-rayed fins, and a ventral sucker supported in front by the pectoral fins. They are destitute of scales. [1913 Webster]
The Collaborative International Dictionary of English. 2000.


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text: A bland, crisp cracker that's often served with cheese and wine. The fact that the cracker is almost flavorless makes it a perfect foil for most foods because it allows their natural flavor to be appreciated. Retrieved from "http://recipes.wikia.com/wiki/Water_biscuit?oldid=520566" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Glossary Add category Cancel Save


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How to: Optimize Storage of Positive Integers With Unsigned Types (Visual Basic)
If you have a variable that contains only positive values (or 0), and these values never exceed 4,294,967,295, you can declare the variable as UInteger instead of Long.
The advantage of using UInteger is that the 32-bit integer types Integer and UInteger are the most efficient data types on 32-bit platforms, and they provide optimum performance for your application.
You can use an Integer variable if your positive values never exceed 2,147,483,647.
To declare an integer with only positive values
Declare the variable As UInteger. The following example illustrates this.
Public Function memoryRequired(ByVal m As UInteger) As UInteger Static r As UInteger = 0 Try r += m Catch eo As System.OverflowException r = 0 Catch ex As System.Exception MsgBox("Incrementing required memory causes """ & ex.Message & """") End Try Return r End Function
You can test the function memoryRequired with the following code:
Public Sub consumeMemoryRequired() Dim m1 As UInteger = UInteger.MaxValue - 100 Dim m2 As UInteger = 100 MsgBox("Max = " & CStr(UInteger.MaxValue) & vbCrLf & CStr(m1) & " -> " & CStr(memoryRequired(m1)) & vbCrLf & "+ " & CStr(m2) & " -> " & CStr(memoryRequired(m2)) & vbCrLf & "+ 1 -> " & CStr(memoryRequired(1))) End Sub
The UInteger data type is not part of the Common Language Specification (CLS), so CLS-compliant code cannot consume a component that uses it.


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|« Date » · « Thread »
|« Date » · « Thread »
|Joerg Heinicke <jheini...@virbus.de>
|Re: [RT] Sitemap inheritance
|Sat, 25 Oct 2003 16:40:24 GMT
On 25.10.2003 18:01, Gianugo Rabellino wrote: > Giacomo Pati wrote: > >>> The more I think about it, though, the more I feel that this solution >>> could be a usability boost for Cocoon. Probably hard to implement (even >>> if the components part already does inheritance), but still very useful >>> for complex Cocoon applications. And, in any case, even if _this_ is not >>> the solution, I think that we should provide a way to have >>> understandable and manageable sitemaps for complicated apps. >> >> >> I'd rather see a solution similar to component inheritance because there >> we have a clear anchor point to do inheritance. The pipeline inheritance >> you've expressed would indeed be hard to implement as it is inheriting >> at the matcher level which is already a final element in the sitemap >> DTD. So why don't we think about inheriting hole pipelines similar to >> components? > > > Yes, it absolutely makes sense. The only problem I see is name > collision: how do you handle the case when a user creates another > pipeline with the same name? This shouldn't be permitted, and an > (understandable) error should be fired. Apart from this, I'm perfectly > fine and I think it makes sense. > > How about ordering? Should new matchers be appended to the extended ones > and overriden matchers be substituted? Is that OK to everyone? Isn't it a simple fallback to the extended sitemap after all matchers in the extending pipeline have been tested? Joerg
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Cries of Conscience Quitting the GOP, Quitting Goldman -- Oh: And Quit Gay Bashing
By A.T. On March 15, 2012
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Brian Gaither: 'Because I have made myself very publicly known as a Republican, I think it's appropriate to share with you the letter of resignation I just submitted to the Miami-Dade GOP.' [Emphasis added. – A.T.]
March 14, 2012
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