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
David Hume, Horace Walpole and the emergence of Gothic fiction
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
Featuring supernatural occurrences
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
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
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
Gardens and wilderness in ‘The Man who Went too Far’ by E. F. Benson and ‘The Man whom the Trees Loved’ by Algernon Blackwood
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
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
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
divine and supernatural
agency that arises from faith and adherence to (their own) religion remains
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
Prophets, religions and history
the deeper past. Such individuals were thought to have a
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