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Death, Delicacy and the Novel: The Corpse in Women’s Gothic Fiction

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Inventing the Gothic Corpse

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Abstract

The chapter identifies Ann Radcliffe’s famous disagreement with Matthew Lewis over the Gothic handling of the corpse as a peak moment in the novel’s century-long struggle with its own entertainment function. Noting how the 1790s surge in novel publication reinvigorates fears about fiction’s pernicious effects, Shapira reads the dead bodies of The Mysteries of Udolpho as Radcliffe’s sophisticated defense against accusations of novelistic pandering. Like Richardson and Fielding, Radcliffe uses the corpse (most famously in the black-veil episode) to insist on her novel’s didactic value while preempting charges of female “indelicacy.” Complicating existing accounts of the Female Gothic, the chapter further uses Minerva Press authors Isabella Kelly and Mrs. Carver to show that Radcliffe’s strategy, not innately or universally “female,” is a product of her particular aspirations.

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Notes

  1. 1.

    James Raven , “Production,” in The Oxford History of the Novel in English, Vol. 2: English and British Fiction 1750–1820, ed. Peter Garside and Karen O’Brien (Oxford: Oxford University Press, 2015), 7–10; the decade tallies are taken from Table 1.1 (10). Raven’s numbers are based on his own previous research, published in British Fiction 1750–1770: A Chronological Check-List of Prose Fiction Printed in Britain and Ireland (Newark: University of Delaware Press, 1987), and on Peter Garside, James Raven and Rainer Schöwerling (eds.), The English Novel 1770–1829: A Bibliographical Survey of Prose Fiction Published in the British Isles, 2 vols. (Oxford: Oxford University Press, 2000).

  2. 2.

    Joseph Bartolomeo , A New Species of Criticism: Eighteenth-Century Discourse on the Novel (Newark: University of Delaware Press, 1994), 88.

  3. 3.

    In Frank Donoghue’s words, the Reviews “transform critical reading from a process or practice into an institution” while establishing themselves at “the top of the literary hierarchy, reputedly determining whether authors succeed or fail.” The Fame Machine: Book Reviewing and Eighteenth-Century Literary Careers (Stanford: Stanford University Press, 1996), 17.

  4. 4.

    See Bartolomeo , New Species of Criticism, 119–23; Cheryl Turner, Living by the Pen: Women Writers in the Eighteenth Century (Routledge: London and New York, 1992); and Janet Todd, The Sign of Angelica: Women, Writing and Fiction, 1660–1800 (New York: Columbia University Press, 1989).

  5. 5.

    Anthony Mandal , “Gothic and the Publishing World, 1780–1820,” in The Gothic World, ed. Glennis Byron and Dale Townshend (London: Routledge, 2014), 159.

  6. 6.

    For a thorough exploration of the Gothic’s coalescence into a recognizable genre see Michael Gamer , Romanticism and the Gothic: Genre, Reception, and Canon Formation (Cambridge: Cambridge University Press, 2000).

  7. 7.

    Turner , Living by the Pen, Chap. 5; Mandal , “Gothic and the Publishing World” and Jane Austen and the Popular Novel: The Determined Author (Basingstoke: Palgrave Macmillan, 2007), Chap. 1.

  8. 8.

    Edward D. Jacobs, “Ann Radcliffe and Romantic Print Culture,” in Ann Radcliffe, Romanticism and the Gothic, ed. Dale Townshend and Angela Wright (Cambridge: Cambridge University Press, 2014), 49–66.

  9. 9.

    Robert Miles, “The 1790s: The Effulgence of Gothic,” in The Cambridge Companion to Gothic Fiction, ed. Jerrold E. Hogle (Cambridge: Cambridge University Press), 41.

  10. 10.

    Robert Mayo, “Gothic Romance in the Magazines,” PMLA 65.5 (1950): 766. See also Franz J. Potter , The History of Gothic Publishing, 1800–1835: Exhuming the Trade (Basingstokes: Palgrave Macmillan, 2005).

  11. 11.

    The hostile critical reactions to the Gothic have been well documented and extensively analyzed. See for example E. J. Clery , The Rise of Supernatural Fiction, 1762–1800 (Cambridge: Cambridge University Press, 1995), Chap. 9; Gamer , Romanticism and the Gothic, Chap. 2; and Angela Wright, “Haunted Britain in the 1790s,” Gothic Technologies: Visualities in the Romantic Era, ed. Robert Miles (December 2005). Romantic Circles. https://www.rc.umd.edu/praxis/gothic/wright/wright.

  12. 12.

    Gamer , Romanticism and the Gothic, 67.

  13. 13.

    For a quick recent overview of how critics denigrate Gothic writing by feminizing it, see Angela Wright , “The Gothic,” in The Cambridge Companion to Women’s Writing in the Romantic Period, ed. Devoney Looser (Cambridge: Cambridge University Press, 2015), 60–1.

  14. 14.

    As with authorship, the facts about the gender of the Gothic’s readers are unclear, despite their common equation with young women. On the anxieties generated by Gothic reading see Katie Halsey , “Gothic and the History of Reading,” in Byron and Townshend, The Gothic World, 172–84.

  15. 15.

    Though he does not focus on the dead body, James Watt takes a similar approach in discussing the “regulatory mechanisms internal to Radcliffean romance,” mechanisms that he sees as responsible for her favorable reception even among conservative critics. James Watt , Contesting the Gothic: Fiction, Genre and Cultural Conflict 1764–1832 (Cambridge: Cambridge University Press, 1999), 111.

  16. 16.

    Turner , Living by the Pen, 95.

  17. 17.

    Emma McEvoy, introduction to Matthew Lewis, The Monk, ed. Howard Anderson (Oxford: Oxford World’s Classics, 1995), xiv.

  18. 18.

    Terry Castle, “The Spectralization of the Other in The Mysteries of Udolpho,” in The Female Thermometer: Eighteenth-Century Culture and the Invention of the Uncanny (New York: Oxford University Press, 1995), 243. Andrea Henderson likewise comments that “The gothic novel constantly threatens us with images of … red blood, body, matter, reproductive nature…. Often, however, especially in Radcliffe novels, the effort to turn the narrative to something palpable fails or is simply cut short—the rape of the heroine never actually takes place, the corpse turns out to be a wax effigy.” Henderson , “‘An Embarrassing Subject’: Use Value and Exchange Value in Early Gothic Characterization,” in At the Limits of Romanticism: Essays in Cultural, Feminist, and Materialist Criticism, ed. Mary A. Favret and Nicola J. Watson (Bloomington: Indiana University Press, 1994), 237–8.

  19. 19.

    Ann Radcliffe, “On the Supernatural in Poetry. By the Late Mrs. Radcliffe,” New Monthly Magazine 16 (1826), 149, 150.

  20. 20.

    See Peter Sabor , “From Terror to the Terror: Changing Concepts of the Gothic in Eighteenth-Century England,” Man and Nature/ Homme et la nature 10 (1991): 168.

  21. 21.

    Edmund Burke , A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, ed. Adam Phillips (Oxford: Oxford World Classics, 1990), pp. 36–7. According to Sabor , Burke does not actually offer the same clear distinction between “terror ” and “horror,” using both alternately as “both the source and test of the sublime.” Sabor , “From Terror to the Terror,” 168.

  22. 22.

    As Robert D. Hume claimed in a pioneering 1969 article, writers of “terror-Gothic” (among whom he includes Walpole as well as Radcliffe) aim to generate terror by arousing “dread … of terrible possibilities” that often do not materialize, while authors of “horror-Gothic ”—Lewis, William Beckford, Mary Shelley and others—“attack [the reader] frontally with events that shock or disturb him,” filling the text with “a succession of horrors.” Hume , “Gothic versus Romantic: A Revaluation of the Gothic Novel.” PMLA 84.2 (1969): 285. In a more recent account reiterating the terror/horror distinction in 1790s Gothic, Fred Botting points to graphic imagery of death as essential to the pursuit of the horror effect: “Horror is most often experienced in underground vaults or burial chambers…. The cause is generally a direct encounter with physical mortality, the touching of a cold corpse, the sight of a decaying body.” Fred Botting , Gothic (London: Routledge, 1996), 75.

  23. 23.

    Robert Miles, Ann Radcliffe: The Great Enchantress (Manchester: Manchester University Press, 1995), 47.

  24. 24.

    Anne Williams , Art of Darkness: A Poetics of Gothic (Chicago: Chicago University Press, 1995), 104.

  25. 25.

    Kari J. Winter likewise sees Lewis and Radcliffe as representing two different traditions: Lewis’s “male Gothic” expresses “fear [of] the suppressed power of the ‘other’ (particularly women),” which is why it “delight[s] in graphic descriptions of torture, mutilation and murder of women,” while the “female Gothic” epitomized by Radcliffe expresses fear of “the unchecked power of men” and “explore[s] possibilities of resistance to the patriarchal order.” Winter , “Sexual/ Textual Politics of Terror: Writing and Rewriting the Gothic Genre in the 1790s,” in Misogyny in Literature: An Essay Collection, ed. Katherine Ann Ackley (New York: Garland, 1992), 91, 92.

  26. 26.

    “Terrorist Novel-Writing,” The Spirit of the Public Journals for 1797. Being an impartial selection of the most exquisite essays and jeux d’esprits… (London, 1798), 224.

  27. 27.

    “Novel-Writing.” The spirit of the public journals for 1798. Being an impartial selection of the most exquisite essays and jeux d’esprits… Vol. 2. (London, 1799), 256; “To the Editor of the Monthly Magazine,” Monthly Magazine 4:21 (August 1797), 102, 104.

  28. 28.

    For illuminating discussions of the Gothic as machinery and of the equally “mechanical” reaction of the Gothic’s critics, see Fred Botting, “Reading Machines,” in Gothic Technologies: Visuality in the Romantic Era, Romantic Circles: Praxis Series (December 2005), ed. Robert Miles, https://www.rc.umd.edu/praxis/gothic/botting/botting.html; and Wright , “Haunted Britain.”

  29. 29.

    S. B., “The Complaint of a Ghost.” The Lady’s Monthly Museum 4 (May 1800): 368–9.

  30. 30.

    “Invective Against Novelist Goblin-Mongers,” Flowers of literature; for 1801 & 1802… (London, 1803), 393.

  31. 31.

    “Terrorist Novel Writing,” 224–5. Analyzing this passage, Gamer notes the similarities to attacks on romance at the century’s beginning; Romanticism and the Gothic, 55.

  32. 32.

    The most helpful discussion in this regard is by James Watt (Contesting the Gothic, Chaps. 3 and 4), who considers Radcliffe and Lewis’s overall authorial strategies as what he calls “position-taking,” though his focus is not on the dead body or on the terror/horror distinction specifically. Miles also adds a necessary complication to gender-based analyses in arguing that not just gender, but class and personal history (Radcliffe’s Dissenter background and Lewis’s homosexuality) need to be considered important factors in their literary choices. Miles , “Ann Radcliffe and Matthew Lewis,” in A Companion to the Gothic, ed. David Punter (Oxford: Blackwell, 2001), 41.

  33. 33.

    Anon., “Zofloya, or, The Moor…” Literary Journal, n.s. 1 (June 1806): 634.

  34. 34.

    Sue Chaplin , “Ann Radcliffe and Romantic-Era Fiction,” in Townshend and Wright, Ann Radcliffe, 203.

  35. 35.

    Dale Townshend and Angela Wright, “Gothic and Romantic Engagements: The Critical Reception of Ann Radcliffe, 1789–1850,” in Townshend and Wright, Ann Radcliffe, 11.

  36. 36.

    By persistently evoking the great poetic voices of the past, Radcliffe, in Clery’s words, “succeeded in bolstering her credentials as a writer to be taken seriously…. To read a Radcliffe novel was not simply to idle away a few hours on a silly story.” E. J. Clery , Women’s Gothic from Clara Reeve to Mary Shelley (Horndon, Tavistock: Northcote House, 2000), 57.

  37. 37.

    Jacobs , “Ann Radcliffe,” 58.

  38. 38.

    Watt , Contesting the Gothic, 111.

  39. 39.

    Catherine Gallagher , Nobody’s Story: The Vanishing Acts of Women Writers in the Marketplace, 1670–1820 (Berkeley: University of California Press, 1994), Chap. 1.

  40. 40.

    Gallagher , Nobody’s Story, 1–2; Ros Ballaster, Seductive Forms: Women’s Amatory Fiction from 1684 to 1740 (Oxford: Clarendon, 1992), 196–211.

  41. 41.

    Clara Reeve, The Progress of Romance, through Times, Countries and Manners… 2 vols (Dublin, 1785), 1: 117.

  42. 42.

    Ballaster , Seductive Forms, 202.

  43. 43.

    Todd , Sign of Angelica, Chap. 12.

  44. 44.

    Miles , Great Enchantress, 55.

  45. 45.

    Miles sums up this view of Radcliffe in early twentieth-century criticism, which contrasted a “female Gothic … bound by feminine timidity” with the German shudder-novel (Schauerroman) “largely written by men—[which] had the courage of its generic convictions.” Though I agree that “it is unhelpful to read [Radcliffe’s] texts as failed examples of something else,” a full account of Radcliffe’s accomplishments must acknowledge the different standards by which late eighteenth-century culture evaluated horrific images produced by men and by women. Miles . Great Enchantress, 44, 45.

  46. 46.

    Clery , Women’s Gothic, 2.

  47. 47.

    Clery , Rise of Supernatural Fiction, 106.

  48. 48.

    Mary Poovey , The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen (Chicago: University of Chicago Press, 1984). For a longer discussion of the conduct-book discourse on delicacy in relation to Radcliffe’s work, The Italian in particular, see Yael Shapira, “Where the Bodies Are Hidden: Ann Radcliffe’s ‘Delicate’ Gothic,” Eighteenth-Century Fiction 18.4 (2006): 453–476.

  49. 49.

    Wetenhall Wilkes, A Letter of Genteel and Moral Advice to a Young Lady… (Dublin, 1740), 76.

  50. 50.

    Wilkes, Letter, 111; John Gregory, A Father’s Legacy to his Daughters…. 2nd ed. (Edinburgh, 1774), 34.

  51. 51.

    Poovey , Proper Lady, 14.

  52. 52.

    Gregory, Father’s Legacy, 48–9, 50–1.

  53. 53.

    Hester Thrale Piozzi, Thraliana: The Diary of Mrs. Hester Lynch Thrale (Later Mrs. Piozzi), 1776–1809, ed. Katharine C. Balderston, 2 vols. (Oxford: Clarendon, 1942), 1: 547.

  54. 54.

    Matthew Lewis, The Monk, ed. Howard Anderson (Oxford: Oxford World’s Classics, 1995), 412.

  55. 55.

    Simon Chaplin , “John Hunter and the ‘Museum Oeconomy,’ 1750–1800” (Ph.D. diss., University of London, 2009), 56, http://library.wellcome.ac.uk/content/documents/john-hunter-and-the-museum-oeconomy.

  56. 56.

    Ibid., 212–13.

  57. 57.

    Matthew Craske , “‘Unwholesome and ‘Pornographic’: A Reassessment of the Place of Rackstrow’s Museum in the Story of Eighteenth-Century Anatomical Collection and Exhibition,” Journal of the History of Collections 23 (2011): 78.

  58. 58.

    The Gazetteer, March 18, 1767; quoted in Craske , “‘Unwholesome and Pornographic,”’ 84.

  59. 59.

    Jeffrey Francis , “Art. I. A series of Plays, in which it is attempted to delineate the Stronger Passions of the Mind; each Passion being the Subject of the Tragedy and a Comedy. By Joanna Baillie. Vol. II. London. 1802.” The Edinburgh Review 2.4 (July 1803), 280, emphasis added.

  60. 60.

    [Jeffrey Francis ,] “Records of Woman; and Other Poems. By Felicia Hemans.” The Edinburgh Review (October 1829); in The Edinburgh Review, or, Critical Journal, for October 1829…. January 1830. To Be Continued Quarterly. Vol. I (Edinburgh, 1830), 32. Google Books. Italics added.

  61. 61.

    Judith Bailey Slagle, Joanna Baillie: A Literary Life (Madison: Farleigh Dickinson University Press; London: Associated University Presses, 2002), 75.

  62. 62.

    See Chaplin , “John Hunter,” 212–14.

  63. 63.

    Ann Radcliffe, A Sicilian Romance, ed. Alison Milbank (Oxford: Oxford University Press, 1993), 166.

  64. 64.

    Ibid., 190.

  65. 65.

    Ann Radcliffe, The Romance of the Forest, ed. Chloe Chard (Oxford: Oxford World Classics, 1986), 54.

  66. 66.

    Miles , “Effulgence of Gothic,” 42.

  67. 67.

    Ann Radcliffe, The Mysteries of Udolpho, ed. Bonamy Dobreé (Oxford: Oxford World’s Classics, 1998), 248.

  68. 68.

    Ibid., 249.

  69. 69.

    Watt , Contesting the Gothic, 112. For a recent reassessment of Radcliffe’s engagement with Burke see Andrew Smith, “Radcliffe’s Aesthetics: Or, the Problem with Burke and Lewis,” Women’s Writing 22.3 (2015): 317–30, https://doi.org/10.1080/09699082.2015.1037983.

  70. 70.

    Radcliffe, Mysteries of Udolpho, 248–9.

  71. 71.

    As Terry Castle comments in her notes to the Oxford World’s Classics edition, “Emily feels horror because she is in no doubt about the ‘dreadful object’ she has seen. Since we, as readers, cannot ‘see’ what she sees, however, our state of mind—theoretically at least—is closer to a Radcliffean terror, we are free here to imagine the worst.” In Radcliffe, Mysteries of Udolpho, 687 (note to page 249).

  72. 72.

    Radcliffe, Mysteries of Udolpho, 662.

  73. 73.

    Ibid., 348.

  74. 74.

    Ibid., 316, 323.

  75. 75.

    Ibid., 323.

  76. 76.

    Ibid., 523.

  77. 77.

    Ibid., 528.

  78. 78.

    Ibid., 531.

  79. 79.

    Ibid., 662.

  80. 80.

    Ibid., 529, emphasis added.

  81. 81.

    Ibid., 532–3.

  82. 82.

    Ibid., 79–80.

  83. 83.

    Ibid., 80.

  84. 84.

    Ibid., 662.

  85. 85.

    Claudia L. Johnson, Equivocal Beings: Politics, Gender, and Sentimentality in the 1790s: Wollstonecraft, Radcliffe, Burney, Austen (Chicago: The University of Chicago Press, 1995), 98.

  86. 86.

    Ibid., 112.

  87. 87.

    Miles , Great Enchantress, 132.

  88. 88.

    Courtney Wennerstrom , “Cosmopolitan Bodies and Dissected Sexualities: Anatomical Mis-stories in Ann Radcliffe’s The Mysteries of Udolpho,” European Romantic Review 16 (2005): 204.

  89. 89.

    As Johnson notes, “the extravagance of the corpse switch unsettles the closure it is supposed to bring, inviting us by its very clumsiness to mark its incoherence and to ask why this confusion must occur in the first place.” Equivocal Beings, 97.

  90. 90.

    Coral Ann Howells , “The Pleasure of the Woman’s Text: Ann Radcliffe’s Subtle Transgressions in The Mysteries of Udolpho and The Italian,” in Gothic Fiction: Prohibition/Transgression, ed. Kenneth Graham (New York: AMS Press, 1989), 160.

  91. 91.

    Townshend and Wright , “Gothic and Romantic Engagements,” 6.

  92. 92.

    For important recent discussions of Radcliffe, see the essays in Townshend and Wright , Ann Radcliffe, and the special issue “Locating Radcliffe,” ed. Andrew Smith and Mark Bennett, Women’s Writing 22.3 (2015).

  93. 93.

    Jacobs , “Ann Radcliffe,” 55.

  94. 94.

    Robert Miles , “‘Mother Radcliff’: Ann Radcliffe and the Female Gothic,” in The Female Gothic: New Directions, ed. Diana Wallace and Andrew Smith (Basingstoke: Palgrave Macmillan, 2009), 50.

  95. 95.

    For other recent discussions that aim to complicate notions of the “female Gothic” by factoring forgotten popular Gothics into the discussion, see for example Angela Wright , “Disturbing the Female Gothic: An Excavation of the Northanger Novels,” in Wallace and Smith, The Female Gothic, 60–75; Chaplin , “Ann Radcliffe and Romantic-Era Fiction”; Diane Long Hoeveler , “Sarah Wilkinson: Female Gothic Entrepreneur,” Gothic Archive (Marquette University, 2015), 1–20. http://epublications.marquette.edu/gothic_scholar/7; and Yael Shapira, “Beyond the Radcliffe Formula: Isabella Kelly and the Gothic Troubles of the Married Heroine,” Women’s Writing (2015), https://doi.org/10.1080/09699082.2015.1110289.

  96. 96.

    Diana Wallace and Andrew Smith’s edited collection The Female Gothic: New Directions (Basingstoke: Palgrave Macmillan, 2009) is the most recent contribution to a rethinking which began in a special issue of Women’s Writing edited by Robert Miles (1.2, 1994) and was continued by Wallace and Smith in a special issue of Gothic Studies (6.1, May 2004). See also Diana Wallace, Female Gothic Histories: Gender, History and the Gothic (Cardiff: University of Wales Press, 2013).

  97. 97.

    Elizabeth Neiman , “‘Novels Begetting Novel(ist)s’: Minerva Press Formulas and Romantic-Era Literary Production, 1790–1820” (PhD diss., University of Wisconsin, 2011, 5–6; see also her “A New Perspective on the Minerva Press’s ‘Derivative’ Novels: Authorizing Borrowed Material,” European Romantic Review 26:5 (2015): 633–58. https://doi.org/10.1080/10509585.2015.1070344.

  98. 98.

    Dorothy Blakey , The Minerva Press, 1790–1820 (London: Oxford University Press, 1939).

  99. 99.

    On Kelly’s biography see Stephen C. Behrendt , Isabella Fordyce Kelly—c. 1759–1857 (Alexandria: Alexander Street Press, 2002), in Scottish Women Poets of the Romantic Period, ed. Nancy Kushigian and Stephen Behrendt . http://lit.alexanderstreet.com/swrp/view/1000197486; and Iain Powell, “Critical Dissertation: Isabella Kelly—Genuine Gothic Genius?” The Corvey Project at Sheffield Hallam University. May 2005. http://extra.shu.ac.uk/corvey/corinne/essay%20powell.html. Short biographical entries on Kelly also appear in Virginia Blain et al. (eds.), The Feminist Companion to Literature in English (London: B. T. Batsford, 1990), 602–3; and Roger Lonsdale (ed.), Eighteenth-Century Women Poets: An Oxford Anthology (Oxford: Oxford University Press, 1989), 481–2.

  100. 100.

    Blakey , Minerva Press, 309–14.

  101. 101.

    Isabella Kelly, The Ruins of Avondale Priory… 3 Vols. (London, 1796), 3: 4.

  102. 102.

    Ibid., 3: 12.

  103. 103.

    Ibid., 3: 12–13.

  104. 104.

    Mrs. Carver, The Horrors of Oakendale Abbey (Crestline, CA: Zittaw Press, 2006), 97.

  105. 105.

    Ibid., 61, 73–4. As Curt Herr comments, Carver “is not a polite or a kind writer; she does not shy away from disturbing topics or grotesque imagery like many of her contemporaries. She is direct, confrontational, disgustingly descriptive, and quite violent.” Herr , introduction to Carver, Horrors of Oakendale Abbey, 12–13.

  106. 106.

    Hoeveler , “Sarah Wilkinson,” 2.

  107. 107.

    Ibid., 3.

  108. 108.

    Isabella Kelly, Madeline, or, the Castle of Montgomery… 3 vols. (London, 1794), 2: 50.

  109. 109.

    Ibid., 2: 18.

  110. 110.

    Ibid., 3: 224.

  111. 111.

    Isabella Kelly, The Abbey of St. Asaph… 3 vols. (London, 1795), 3: 11–12.

  112. 112.

    Ibid., 3: 12–13.

  113. 113.

    Ibid., 3: 13–14.

  114. 114.

    Ibid., 3: 15.

  115. 115.

    Ibid., 3: 89.

  116. 116.

    Ibid., 3: 128.

  117. 117.

    Ibid., 3: 129.

  118. 118.

    Louis F. Peck , A Life of Matthew G. Lewis (Cambridge: Harvard University Press, 1961), 62–4.

  119. 119.

    Shapira, “Beyond the Radcliffe Formula.”

  120. 120.

    Carver, Horrors of Oakendale Abbey, 40.

  121. 121.

    Ibid., 47.

  122. 122.

    Ibid., 50.

  123. 123.

    Ibid., 53.

  124. 124.

    Ibid., 61.

  125. 125.

    Ibid., 66.

  126. 126.

    Ibid., 113.

  127. 127.

    Ibid., 158–9.

  128. 128.

    Don Shelton , “Sir Anthony Carlisle and Mrs Carver,” Romantic Textualities: Literature and Print Culture, 1780–1840, 19 (Winter 2009). http://www.cf.ac.uk/encap/romtext/reports/rt19_n04.pdf.

  129. 129.

    Chaplin , “Ann Radcliffe and Romantic-Era Fiction,” 210, 211.

  130. 130.

    Hoeveler , “Sarah Wilkinson,” 14.

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    Yael Shapira

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Shapira, Y. (2018). Death, Delicacy and the Novel: The Corpse in Women’s Gothic Fiction. In: Inventing the Gothic Corpse. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-76484-9_4

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