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Cultural remains and literary beginnings
Eric Parisot

Towards the end of the eighteenth century, in her ‘Invocation: To Horror’ (1788), Hannah Cowley summons Horror ‘from the mould’ring tower, / The murky church yard, and forsaken bower’, where ‘morbid Melancholy’ and ‘phantoms of Despair’ conjured by Horror’s ‘grisly labours’ dwell (Voller, 2015 : 205, lines 16–17, 21, 26). Cowley’s derivative homage to graveyard poetry of

in Graveyard Gothic
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Visiting (and revisiting) the burial site in late eighteenth-century Gothic fiction
Yael Shapira

local rumours that the abbey is haunted; in fact, he deliberately ignores a servant’s warning ‘not to venture myself in [the abbey] after Sun-set’ (1711: 453) and goes at night, as though seeking to make the experience more eerie. All this suggests less the solemn mindset of the spiritual seeker than the pleasure-oriented one of the tourist. Graveyard poetry, too, likely aroused in its readers more

in Graveyard Gothic
A literary history
Author:

The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914 - between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.

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Graveyard Gothic
Eric Parisot
,
David McAllister
, and
Xavier Aldana Reyes

. What is more, it is a space where the imagined and the physical coalesce, a place that perpetually draws the functional capacity of stories to attempt to explain the troubling ambiguities of existence, and where layered narratives accumulate as blankets of moss upon stone. The essays in this collection follow a rough chronology, moving from graveyard poetry of the eighteenth century to video games

in Graveyard Gothic
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Andrew Smith

This study has explored the various ways in which the dead and dying have been represented in Gothic texts from the mid eighteenth century to the early twentieth century. The history explored here began by looking at how Graveyard poetry functioned as a precursor to the Gothic. As we have seen, critical discussion about death, spirituality and creativity was established in

in Gothic death 1740–1914
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Eighteenth-century Gothic poetics
Andrew Smith

‘human’ to close critical scrutiny. The Gothic, as it emerges in the 1740s–1750s in Graveyard poetry, is generated out of this metaphysical uncertainty even whilst it formally models images of the dead that will become one of its iconographical features. The Gothic, in other words, was born out of anxieties about death, but in order to explain this it is helpful to outline critical discussion that

in Gothic death 1740–1914
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Andrew Smith

this capacity for self-reflection indicates the presence of a radical strand within the Gothic that is centred on ideas about death, art, creativity and modes of interpretation. The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914 – between Graveyard poetry and the mass death occasioned by the First World War. The corpse

in Gothic death 1740–1914
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Caledonian fatality in Thomas Percy’s Reliques
Frank Ferguson
and
Danni Glover

on both pages link to suggest this: ‘ non omnis moriar ’ (verso, ‘not everything decays, perishes’) because ‘ durat opus vatum ’ (recto, ‘the work of the poets/bards/prophets endures, lives’). In the combination of these two images, Percy celebrates and compartmentalises the past. He opens up the possibility of glimpsing English history in all its imagined ceremony, and lamenting its passing at the same time. His antiquarian’s version is one not so much of graveyard poetry, as the poetic object firmly within its mausoleum, evidenced by the right-hand picture

in Suicide and the Gothic
Refashioning the Victorian death space
Emma Liggins

’, ‘melancholy’, isolated spot, with its forgotten ancestors, is evocative of the sentimentalised sadness of eighteenth-century graveyard poetry. Yet the tranquillity experienced here is short-lived, as the ‘old bones’ of the graveyard are threatening to notions of the family; significantly, the idea of the family grave is here ‘no longer used’. Cultural geographers have conceptualised the deathscape as

in Graveyard Gothic
Mexican graveyards and Gothic returns
Enrique Ajuria Ibarra

, graveyards are ritual locations that generate anxiety, ‘uniting the rational and the sublime in contemplating the terrible and unknowable’ (Trowbridge, 2017 : 24) in an encounter of religious belief systems regarding what to do with the dead and the possibility of an afterlife (2017: 22). Thus, British graveyard poetry of the mid to late eighteenth century may have influenced the rise of

in Graveyard Gothic