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E.J. Clery and Robert Miles

Udolpho. The novel, with its spectacular supernaturalism accompanied by scenes of rampant sexuality and horrible cruelty and suffering, was like nothing ever seen before, and certainly very different from Radcliffe. It was instantly successful, quickly going through three editions. But it was not long before a critical reaction set in, heightened by the discovery that the author was now a Member of

in Gothic documents
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David Hume, Horace Walpole and the emergence of Gothic fiction
Jonathan Dent

reality, what more agreeable entertainment to the mind, than to be transported into the remotest ages of the world, and to observe human society, in its infancy, making the first faint essays towards the arts and sciences. David Hume, ‘Of the Study of History’ (1741) Featuring supernatural occurrences

in Sinister histories
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Running into the forest in Russian fairy tales
Shannon Scott

out of his den ‘as if he'd descended into the pits of Hell’ (p. 46). However, when events are outside the boundaries of the Grey Wolf's power, he directs Ivan to Baba Yaga, the only other being inhabiting the forest who is equally capable of powerful magic and protection. In ‘Ivan Tsarevich and the Grey Wolf’, Baba Yaga becomes the wolf's human counterpart in the wilderness. She is wild, carnivorous and occasionally cannibalistic, living off what the forest provides her. She possesses supernatural powers – a knowledge and control over life and

in In the company of wolves
Imagination, originality, terror
E.J. Clery and Robert Miles

kind of horrour’ directly prefiguring Burke’s oxymoron of ‘a sort of delightful horror, a sort of tranquillity tinged with terror’ (3.6). The final remarks relate to the allegorical employment of ‘supernatural machinery’, the mode of supernaturalism that the Augustans found easiest to assimilate to their notions of literary decorum (again, cf. 1.8b). Other essays from The Spectator on

in Gothic documents
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Alisa Manninen

with the mythical Lear than the kings of the English histories: the play is anchored to recorded history and contemporary present by references to Edward the Confessor and the reign of the Stuarts, yet it makes the supernatural a genuine and prominent influence in ways that set it apart from the history plays. This sense of a tangible otherworldly presence becomes central to Macbeth as a tragedy of state. The regicide committed by Macbeth becomes the spur to spiritual contagion that spreads throughout Scotland, affecting both the realm and

in The genres of Renaissance tragedy
Gardens and wilderness in ‘The Man who Went too Far’ by E. F. Benson and ‘The Man whom the Trees Loved’ by Algernon Blackwood
Ruth Heholt

This chapter looks at uneasy and disrupted gardens in the supernatural stories; ‘The Man who Went too Far’ by E. F. Benson and ‘The Man whom the Trees Loved’ by Algernon Blackwood. Both tales feature gardens that lie in the heart of the New Forest in Hampshire with the wilderness of the Forest at their borders, and each follows the fate of a man who ‘goes too far’ in his desire to become at one with nature. These stories are remarkably similar in theme and tone, and published in the same year, 1912; I am going to examine them as a coincidental

in EcoGothic gardens in the long nineteenth century
The doctrine of ‘religion’ in Islam and the idea of ‘rights’ in the West
Hisham A. Hellyer

, rights discourse has no stake in supernatural or metaphysical realities, let alone the world to come. It is fundamentally concerned with the here and now. Though believers may hold that there is a connection between their commitment to rights and what happens to them in the afterlife, rights discourse is wholly unconcerned with the hereafter. It is essentially agnostic on such matters, with some adherents basically hostile. Having emerged as part of the secularisation of Western society, it derives its authority from something other than a supernatural or metaphysical

in Religion and rights
Two tales of 1861–2
W. J. McCormack

: In my youth I heard a great many Irish family traditions, more or less of a supernatural character, some of them very peculiar, and all, to a child at least, very interesting. One of these I will now relate, though the translation to cold type from oral narrative, with all the aids of animated human voice and countenance, and the

in Dissolute characters
Some conclusions
Robin Derricourt

divine and supernatural agency that arises from faith and adherence to (their own) religion remains valid. A number of discussion points, themes and ideas do emerge from the history of the religious movements’ origins outlined in the previous chapters. These focussed on movements which were or became part of the mono­ theistic tradition, and the presence in the narratives of ‘prophets’, even if, as with Judaism and Zoroastrianism, some of those figures were seen as part of 222 Prophets, religions and history the deeper past. Such individuals were thought to have a

in Creating God
Martha McGill

who deceived mortals; visionaries saw angels who spoke of imminent divine punishment; John Maxwell was warned of his own dismemberment; and John Duncan was temporarily deprived of the power to see or speak. Stories of angels were, most frequently, calls to action, and it is no surprise that they proliferated in response to religious conflict. Within both Catholic and Protestant culture, angels encouraged men and women to remember and to engage with the supernatural world, on pain of divine punishment. They also required submission. Images of trumpeting angels

in The supernatural in early modern Scotland