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The Gothic and the sublime<br />

211<br />

conceal my retreat. The fresh air revived me, and, with renewed<br />

determination I approached the door of their cottage.<br />

I knocked. Who is there?’ said the old man – ‘Come in’.<br />

I entered; ‘Pardon this intrusion,’ said I, ‘I am a traveller in want<br />

of a little rest; you would greatly oblige, if you would allow me<br />

to remain a few minutes before the fire.’<br />

Frankenstein was inspired, the story goes, by an evening which Mary<br />

Shelley spent with the poets Byron and Shelley and their friend John<br />

Polidori on the shores of Lake Geneva in 1816. All four of them were<br />

to write something ‘supernatural’. Byron and Shelley incorporated the<br />

ideas into poems. Polidori wrote The Vampire, published in 1818, a<br />

story which started a long line of vampire tales in English.<br />

A fashion for exotic locales and action, closely related to the Gothic,<br />

led to such outrageous works as Vathek (1786) by William Beckford.<br />

This ‘Arabian tale’ involves a cruel hero, Caliph Vathek, palaces for<br />

the indulgence of the five senses, child sacrifice, and considerable<br />

high-pitched excitement. Its exaggerations are tempered with a degree<br />

of irony which make the book very funny, although many readers<br />

and critics have taken its strangeness at face value. Vathek was the<br />

precursor of many such oriental tales, and in some ways anticipates<br />

the ‘aesthetic’ temperament which was to develop in Romanticism,<br />

such as Lalla Rookh (1817), four hugely successful verse tales with a<br />

linking narrative, by the Irish writer Thomas Moore.<br />

Like the Gothic terrors, Beckford’s exoticism is more the product of<br />

imagination and fantasy than of realism, an extension of the imaginative<br />

range of the novel which brings together several trends: the fascination<br />

of far-off places, the exaggerations of Mandeville and Hakluyt, and an<br />

enjoyment of sensuality and sensation.<br />

LANGUAGE NOTE<br />

Point of view<br />

As the form of the novel developed, so the uses of point of view became<br />

more sophisticated. We see in Defoe’s novels, for example, all the action<br />

through the eyes of the main character – Robinson Crusoe, Moll Flanders,

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