"
Pp. 1-15.
CHAPTER II - THE BEGINNINGS OF GOTHIC ROMANCE.
Walpole's admiration for Gothic art and his interest in the
middle ages; the mediaeval revival at the close of the eighteenth
century; _The Castle of Otranto_; Walpole's bequest to later
romance-writers; Smollett's incidental anticipation of the
methods of Gothic Romance; Clara Reeve's _Old English Baron_ and
her effort to bring her story "within the utmost verge of
probability"; Mrs. Barbauld's Gothic fragment; Blake's _Fair
Elenor_; the critical theories and Gothic experiments of Dr.
Nathan Drake. Pp. 16-37.
CHAPTER III - "THE NOVEL OF SUSPENSE." MRS. RADCLIFFE.
The vogue of Mrs. Radcliffe; her tentative beginning in _The
Castles of Athlin and Dunbayne_, and her gradual advance in skill
and power; _The Sicilian Romance_ and her early experiments in
the "explained" supernatural; _The Romance of the Forest_, and
her use of suspense; heroines: _The Mysteries of Udolpho_;
illustrations of Mrs. Radcliffe's methods; _The Italian_;
villains; her historical accuracy and "unexplained" spectre in
_Gaston de Blondeville_; her reading; style; descriptions of
scenery; position in the history of the novel.
Pp. 38-62.
CHAPTER IV - THE NOVEL OF TERROR. LEWIS AND MATURIN.
Lewis's methods contrasted with those of Mrs.
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