The Dark Angel: Gothic Elements in Shelley's Works
By establishing a relationship between Shelley's works and the Gothic tradition, this study offers a new way of approaching the center of Shelley's thought. Consideration of Shelley's application of the Gothic mode as an agency for psychological analysis is preceded by a brief introduction to Gothic sensibility.
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action Ahasuerus Alastor ambiguous appears atmosphere Beatrice Beatrice's beauty becomes Castle casuistry Cenci character characteristics complete Count curse motif dark DARK ANGEL death destruction drama dream dream-vision evil external fear finally Flame London forces ghosts Ginotti Gothic conventions Gothic dream-vision Gothic elements Gothic hero-villain Gothic imagery Gothic mode Gothic novel Gothic sensibility Gothic tradition haunted hero horror human idea ideal imagery and personification images imagination indicates innocence interest Irvyne Laon major poems Matilda mature mind mood moral murder mysterious narrator nature Orsino passage passions pattern Percy Bysshe Shelley phantom physical play poem's Poet Poet's poetic Prometheus Unbound psychological Queen Mab quest-curse reader reality revenge Revolt of Islam Romantic Rousseau scene Shelley Shelley's early Shelley's Major Poetry soul spirit spirit of solitude supernatural terror theme thou thought tion tragedy tyranny veiled maid Verezzi victim villain vision visionary experience Wandering Jew Wolfstein Zastrozzi Zofloya
Page 24 - Ere Babylon was dust, The Magus Zoroaster, my dead child, Met his own image walking in the garden. That apparition, sole of men, he saw. For know, there are two worlds of life and death : One that which thou beholdest ; but the other Is underneath the grave, where do inhabit ;The shadows of all forms that think and live , Till death unite them and they part no more...