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: The Tale of Terror: A Study of the Gothic Romance by Birkhead Edith - English fiction History and criticism; Horror tales English History and criticism; Gothic revival (Literature) Great Britain; Supernatural in literature Horror
The antiquity of the tale of terror; the element of fear in myths, heroic legends, ballads and folk-tales; terror in the romances of the middle ages, in Elizabethan times and in the seventeenth century; the credulity of the age of reason; the renascence of terror and wonder in poetry; the "attempt to blend the marvellous of old story with the natural of modern novels." Pp. 1-15.
The persistence of the tale of terror; the position of the Gothic romance in the history of fiction; the terrors of actual life in the Bront?'s novels; sensational stories of Wilkie Collins, Le Fanu and later authors; the element of terror in various types of romance; experiments of living authors; the future of the tale of terror. Pp 221-228.
The history of the tale of terror is as old as the history of man. Myths were created in the early days of the race to account for sunrise and sunset, storm-winds and thunder, the origin of the earth and of mankind. The tales men told in the face of these mysteries were naturally inspired by awe and fear. The universal myth of a great flood is perhaps the earliest tale of terror. During the excavation of Nineveh in 1872, a Babylonian version of the story, which forms part of the Gilgamesh epic, was discovered in the library of King Ashurbanipal ; and there are records of a much earlier version, belonging to the year 1966 B.C. The story of the Flood, as related on the eleventh tablet of the Gilgamesh epic, abounds in supernatural terror. To seek the gift of immortality from his ancestor, Ut-napishtim, the hero undertakes a weary and perilous journey. He passes the mountain guarded by a scorpion man and woman, where the sun goes down; he traverses a dark and dreadful road, where never man trod, and at last crosses the waters of death. During the deluge, which is predicted by his ancestor, the gods themselves are stricken with fear:
"No man beheld his fellow, no more could men know each other. In heaven the gods were afraid ... They drew back, they climbed up into the heaven of Anu. The gods crouched like dogs, they cowered by the walls."
Another episode in the same epic, when Nergal, the god of the dead, brings before Gilgamesh an apparition of his friend, Eabani, recalls the impressive scene, when the witch of Endor summons the spirit of Samuel before Saul.
"Childe Roland to the dark tower came. His word was still Fie, Foh and Fum, I smell the blood of a British man."
"It is not so, it was not so, but, indeed, God forbid that it should be so."
which hint at the existence of a hoard as precious and inexhaustible as that of the Nibelungs. The chord of terror is touched in the eerie visit of the three dead sailor sons "in earthly flesh and blood" to the wife of Usher's well, Sweet William's Ghost, the rescue of Tarn Lin on Halloween, when Fairyland pays a tiend to Hell, the return of clerk Saunders to his mistress, True Thomas's ride to Fairyland, when:
"For forty days and forty nights, He wade through red blood to the knee, And he saw neither sun nor moon, But heard the roaring of the sea."
"ghosts that, pale as ashes, had stood at the feet of the bed or walked over a churchyard by moonlight; and others, who had been conjured into the Red Sea for disturbing people's rest."
"I must tell you, good people, he that is not able to see the devil, in whatever shape he is pleased to appear in, he is not really qualified to live in this world, no, not in the quality of a common inhabitant."
"It is true that the English in general, and indeed most of the men of learning in Europe, have given up all accounts of witches and apparitions, as mere old wives' fables. I am sorry for it; and I willingly take this opportunity of entering my solemn protest against this violent compliment which so many that believe the Bible pay to those who do not believe it."
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