The Gothic Element in the Novels of Charles Brockden Brown Page: 2
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Homanees of chivalry, set la an atmosphere of supernatural
wonder and enchantment , embody tales of terror. Notable
examples are Mori® d* Arthur ma# Sir Amadaa. Terrors of the
invisible world fascinated the dramatists of the Elizabethan
age. Shakespeare*s apparitions and witches la Macbeth.
Marlowe*® letting Dr. Fauitus bargain with the devil, Ben
Johnsons twelve witches in Masque of the Stieen bear witness
to this fact# Banyan had witches, devils, and fiends in The
Pilar la1 a Progress, Burns in fm planter revealed with
somewhat humorous reality the terrors that a reveller must face
in returning home in a storm. In Coleridge'a Ancient Mariner
terror was inspired by the skeleton-ship, its ghastly crew,
the spectre-woman and her deathaate. In Chrlstabel there were
unearthly scene®, a® well as in Kubla Khan* Soae of the poems
of Keats which suggested mystery and terror were The Eve of
St. Agnes, Isabella, la Belie Baae sans Meroi.3
The innate desire for the marvelous was not set by the
English novel in the first half of the eighteenth century.
Smollett, who in his Adventure of Ferdinand.
Count Fathom (1753)* seems to have' been experi-
menting with new devices for keeping alive the
interest of a picaresque novel, anticipate® the
methods of Mrs. Radoliffe. Although he sedulously
avoids introducing the supernatural, he hovers
perilously on the threshold.*
To Horace Walpole, whose Castle of Otranto wag published
on Christmas ive, 1764, mmt be assigned the honor of having
3lbid.. pp. 4-11. 4Ibid.. p. 12.
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Cannon, Willie Jim. The Gothic Element in the Novels of Charles Brockden Brown, thesis, 1950; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc130235/m1/5/: accessed November 18, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; .