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Genre: Gothic Horror Muharhareader!

Genre Gothic Booklet

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Page 1: Genre Gothic Booklet

Genre: Gothic Horror

Muharhareader!

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Contents

UNIT AIMS AND OUTCOMES 3

USEFUL TERMS IN THIS UNIT 4

GENRE 4

APPROPRIATION 4

SUBVERTED READINGS 5

INTERTEXTUALITY 5

ELEMENTS OF THE GOTHIC NOVEL 7

ELEMENTS OF ROMANCE 9

CREATIVE TASK 1 9

THE RAVEN - EDGAR ALAN POE 11

DRACULA – BRAM STOKER 14

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Unit Aims and Outcomes

Thisunitcomesatatimewhenyouhavefirstreceivedyourlaptops.Thisunitisbrandnewandwillaimforyoutolearnhowtouseyourlaptopatschool,particularlyinEnglish.Noteverythingwillbeonthelaptopsbuttheywillbeintegraltotheunit.

KEYLEARNINGAREAS:

OriginsandparadigmsoftheGothicHorrorGenre

Developmentandappropriationofgenre

Thecreativeprocess,includingdrafting,editingandpublishing

TEXTTYPES:

Poetry:TheRaven

Film

Television

Novel

GraphicNovel

MAJORAIMSOFTHISUNIT:

ForstudentstofamiliarisethemselveswiththeconceptofgenreandinparticularGothicHorror.

ForstudentstoconnecttheirunderstandingofRomanticismwithGothicHorror.

Forstudentstoengagewiththegenreinavarietyofformsandstylesovertime.

Forstudentstounderstandtheinfluenceofcontextontheevolutionofthegenre.

Forstudentstocreateandpublishtheirownworkbasedonthegenre.

Forstudentstobecomecomfortablewithavarietyofprogramsontheirnewlaptops.

KEYLEARNINGOUTCOMES

1 respondstoandcomposesincreasinglysophisticatedandsustainedtextsforunderstanding,interpretation,criticalanalysisandpleasure

5 transfersunderstandingoflanguageconceptsintonewanddifferentcontexts

6 experimentswithdifferentwaysofimaginativelyandinterpretivelytransformingexperience,informationandideasintotexts

9 demonstratesunderstandingofthewaystextsreflectpersonalandpublicworlds

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Useful Terms In This Unit

Genre Genrereferstotextsofasimilartypeandform.Whenpeoplevieworreadaparticulargenretheexpectcertainconventionstobefollowed.Forexample,it’sconventionalforhorror‐genretextstoincludesuchthingsasthesupernaturalorun‐deadbeingsandhauntedcastles.Atextcanbeamixofseveralgenressuchascomichorror.Atextcanalsobeamixofgenres.

Sub‐genrereferstoaspecifictypewithinagenre.Thehorrorhasanumberofsub‐genres,includinggothichorror,whichoriginatedintheVictorianperiod(mid1800sto1900).FrankensteinandDraculaarebothclassicsofthissub‐genre.

1. Researchandmakealistofasmanygenresasyoucanthinkof.Areanyofthesesub‐genres?Doanygenresoverlap?Workwithafriendtomakeavisualrepresentationmapofallthedifferentgenres.Startwithyourbrainstorm,thenmindmapthemtoshowlinks,thenmakeafinalcopywithimagesonthemapthathighlightelementsofthosegenres.****Whatcanyoudowithhttp://www.notcot.com/archives/2008/04/stefanie_posave.php.

2. Interestinglinkshttp://www.literature‐map.com/Putinanauthorandseehowothersimilarauthorsrelate.

3. Whenyouthinkofthegothichorrorgenre,whatimagescometomind?Whatexpectationsdoyouhave?Whattextsdoyouthinkbelongtothatgenre?

4. Gotohttp://www.wordle.net/andcopyandpastastoryorpoemthatwearestudyinginthisunit.Makeitsuitthegenrevisually.Havealookatwhatkeywordscomeup.Comparetootherpeoples.

Appropriation Appropriationistakinganimage,characterortechniquefromonecontextandplacingitinanother.Thishappensquitealotinmanywrittentextforms.Oftentheappropriationwilloccurwhenacharacteristakenoutoftheirtime,suchasRuthPark'sPlaying Beattie Bow,whereamoderngirlgoesbackintimeandexperiences19thcenturySydney.Parkusesappropriationtohighlightthedifferencesbetweentwoerasinhistory.

Otherformsofappropriationincludetakingastereotypedcharacteroutoftheircontextandputtingtheminadifferentsetting,forexample,anunemployedcircusringmastergetsajobasacallcentreoperator.Theresponderhascertainexpectationsaboutthecircusringmaster'straits,whicharehighlightedbythecontrastwithhiscurrentoccupation.Composersgenerallyuseappropriationtoemphasisedifference.

Anotherformofappropriationiswhenthecomposerwantstheaudiencetoviewtheconventionaltextthroughanunconventionalperspective.Oneexamplewouldbecomposingafairytalewherethestory,usuallytoldfromtheknight'spointofview,istoldfromthedragon'spointofview.

5. Duringthisunityouwillbeaskedtoappropriateideascreatively.Thinkofanyappropriationsyouknowof.Aretheyvaluabletexts?Oraretheymerelycopies?Whatmakesthemavaluabletext?

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Subverted readings Subvertedreadingsandinterpretationsoftextsinvolvetwistingtheconventions(whatusuallyoccurs/whatyouexpecttooccur)orthestereotypesofawell‐knowntext.Averycommonvarietyofsubvertedreadingsareso‐calledfractured fairy tales.Inthesefairytalesthecharactersorconventionsarechanged.Themostcommonconventionoffairytalestobesubvertedisthehappyending,forexample,inThe Three Little Pigstheendingcouldhavethewolfclimbdownthechimneyandcapturethethreelittlepigs(Whichisahappyendingforthewolf!)

The Princess BridebyWilliamGoldmanisprobablythemostfamousexampleofafracturedfairytalenovel.ItcontainsabeautifulgirlcalledButtercupreluctantlybetrothed(engagedto)toaprince,whoisalsothevillain,andtheadventuresofherlostloverWestley(whomshecallsFarmBoy)tryingtoreunitewithher.Althoughthereareanumberoffairytaleelementsinthenovel(abeautifulgirl,aprince,thepromiseofmarriage),thesearesubvertedbyspecificssuchastheprincebeingthevillain.Generallyinfairytales,aPrinceisthehero(Cinderella,Sleeping BeautyandSnow White and the Seven Dwarvestonameafew).

6. Doaquickbrainstormnowaboutasubvertedreadingthatcouldbewrittenfromyourfavouritetext/genre.Whatcharactersandconventionswouldbechanged?Whatelementswoulldbehighlighted?Whatwoulditcritique?

7. Doaquickbrainstormnowaboutasubvertedreadingthatcouldbewrittenfromanyfairytail.Whatcharactersandconventionswouldbechanged?Whatelementswoulldbehighlighted?Whatwoulditcritique?

8. Whydoyouthinksubvertedreadingsaresopopularatthemoment?Makealistofalltheonesyoucanthinkofbeingatthecinemasorontelevisionatthemoment.Illustratethislistwithimagesyoufindfromgoogle.com.Makesureyoureferencetheseproperly.

Intertextuality Intertextualityisthelinkbetweentwotexts.Manymoderntextsborrowfromearliertexts.Thiscanbedoneinanumberofdifferentwaysandservestoaddweighttomeaning.

Textscanbere‐composedintodifferentformats.FilmssuchasThe X-men,SpidermanandtheBatmanseriesoriginatedasgraphicnovelsandhavebeenusedtore‐createthetextinadifferentform.Thisisaneffectiveformofintertextualityasitusestheresponder'sexpectationsasabasisformeaning.Whenaresponderviewsafilmadaptationofagraphiche/sheknowsmoreorlesswhattoexpect.Whatdoyouexpecttoseeinagraphicnovel?Action,wittyone‐liners,goodversusevil,aloveinterestandeventuallygoodovercomingevil.

Textscanalsobere‐composedorrecontextualisedintomoderncontexts.SomeexamplesoftheseincludetheBazLuhrmannversionofShakespeare'sRomeo and Juliet,theplayA West Side Story,alsoamodernadaptationofRomeo and JulietandCluelesswhichisamodernversionofJaneAusten'sEmma.Whenaresponderreadsorviewsatextthathasbeenrecomposedintomoderncontextshe/shewillexpecttoseecertainthemesplayedout.Thefactthatitisinamoderncontexthastheeffectofvalidatingthemesasbeingtimelessaswellasexpressingtheimportanceofthesethemesincontemporarytimes.

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Apasticheisatextthatusesanothertext'sstyleandfeatures.Thisissometimesdoneinahumorouswaybutneverthelessremainsrespectful.Manyscience‐fictionorfantasytextsareconsideredpastichebecausetheytakewell‐knownfeaturesfromprevioustextsinordertotelltheirstory.

Finally,intertextualitycaninvolveallusions,wherereferenceismadetoothertexts.Thesemayincludereferences,symbolsoriconsthatimplyanothertext.Manytextsusereferencesthroughsimilesandmetaphors.Callingapersona'Judas'istoimplythatthatpersonisdisloyal.ThisisanallusionthebiblicalJudaswhobetrayedJesusintheChristianBible.Considertheeffectofareligiousallusion,implyingaspirituallinktoanideawillstrengthentheimportanceorweightofwhatacomposerisattemptingtoexpress.

TerryPratchett'sDiscworldnovelsusealotofintertextuality.SomeexamplesincludeWyrd Sisters,whichlooselyfollowsShakespeare'sMacbeth,Maskerade,basedonGastonLeRoux'sThe Phantom of the OperaandCarpe Jugulum,whichalludedtothenarrativeconventionsfoundinvampirestories.

9. Inyourownwords,identifyanddescribethedifferencesbetweenappropriation,subvertedreadingsandintertextuality.

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Elements of the Gothic Novel

Thegothicnovelwasinventedalmostsingle‐handedlybyHoraceWalpole,whoseTheCastleofOtranto(1764)containsessentiallyalltheelementsthatconstitutethegenre.Walpole'snovelwasimitatednotonlyintheeighteenthcenturyandnotonlyinthenovelform,butithasinfluencedwriting,poetry,andevenfilmmakinguptothepresentday.

Gothicelementsincludethefollowing:

1.Settinginacastle.Theactiontakesplaceinandaroundanoldcastle,sometimesseeminglyabandoned,sometimesoccupied.Thecastleoftencontainssecretpassages,trapdoors,secretrooms,darkorhiddenstaircases,andpossiblyruinedsections.Thecastlemaybenearorconnectedtocaves,whichlendtheirownhauntingflavorwiththeirbranchings,claustrophobia,andmystery.

2.Anatmosphereofmysteryandsuspense.Theworkispervadedbyathreateningfeeling,afearenhancedbytheunknown.Oftentheplotitselfisbuiltaroundamystery,suchasunknownparentage,adisappearance,orsomeotherinexplicableevent.Elements3,4,and5belowcontributetothisatmosphere.

3.Anancientprophecyisconnectedwiththecastleoritsinhabitants(eitherformerorpresent).Theprophecyisusuallyobscure,partial,orconfusing."Whatcoulditmean?"Inmorewatereddownmodernexamples,thismayamounttomerelyalegend:"It'ssaidthattheghostofoldmanKrebsstillwandersthesehalls."

4.Omens,portents,visions.Acharactermayhaveadisturbingdreamvision,orsomephenomenonmaybeseenasaportentofcomingevents.Forexample,ifthestatueofthelordofthemanorfallsover,itmayportendhisdeath.

5.Supernaturalorotherwiseinexplicableevents.Dramatic,amazingeventsoccur,suchasghostsorgiantswalking,orinanimateobjects(suchasasuitofarmororpainting)comingtolife.Insomeworks,theeventsareultimatelygivenanaturalexplanation,whileinotherstheeventsaretrulysupernatural.

6.High,evenoverwroughtemotion.Thenarrationmaybehighlysentimental,andthecharactersareoftenovercomebyanger,sorrow,surprise,andespecially,terror.Characterssufferfromrawnervesandafeelingofimpendingdoom.Cryingandemotionalspeechesarefrequent.Breathlessnessandpanicarecommon.

7.Womenindistress.Asanappealtothepathosandsympathyofthereader,thefemalecharactersoftenfaceeventsthatleavethemfainting,terrified,screaming,and/orsobbing.Alonely,pensive,andoppressedheroineisoftenthecentralfigureofthenovel,sohersufferingsareevenmorepronouncedandthefocusofattention.

8.Womenthreatenedbyapowerful,impulsive,tyrannicalmale.Oneormoremalecharactershasthepower,asking,lordofthemanor,father,orguardian,todemandthatoneormoreofthefemalecharactersdosomethingintolerable.Thewomanmaybecommandedtomarrysomeoneshedoesnotlove(itmayevenbethepowerfulmalehimself),orcommitacrime.

9.Themetonymyofgloomandhorror.Metonymyisasubtypeofmetaphor,inwhichsomething(likerain)isusedtostandforsomethingelse(likesorrow).Forexample,thefilmindustrylikestousemetonymyasaquickshorthand,soweoftennoticethatitisraininginfuneralscenes.Notethatthefollowingmetonymiesfor"doomandgloom"allsuggestsomeelementofmystery,danger,orthesupernatural.Thisalsorelatestopatheticfallacy.

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wind,especiallyhowling rain,especiallyblowing

doorsgratingonrustyhinges sighs,moans,howls,eeriesounds

footstepsapproaching clankingchains

lightsinabandonedrooms gustsofwindblowingoutlights

characterstrappedinaroom doorssuddenlyslammingshut

ruinsofbuildings bayingofdistantdogs(orwolves?)

thunderandlightning crazedlaughter

10.Thevocabularyofthegothic.Hereasanexamplearesomeofthewords(inseveralcategories)thathelpmakeupthevocabularyofthegothicinTheCastleofOtranto:

Mystery diabolical,enchantment,ghost,goblins,haunted,infernal,magic,magician,miracle,necromancer,omens,ominous,portent,preternatural,prodigy,prophecy,secret,sorcerer,spectre,spirits,strangeness,talisman,vision

Fear,Terror,orSorrow

afflicted,affliction,agony,anguish,apprehensions,apprehensive,commiseration,concern,despair,dismal,dismay,dread,dreaded,dreading,fearing,frantic,fright,frightened,grief,hopeless,horrid,horror,lamentable,melancholy,miserable,mournfully,panic,sadly,scared,shrieks,sorrow,sympathy,tears,terrible,terrified,terror,unhappy,wretched

Surprise alarm,amazement,astonished,astonishment,shocking,staring,surprise,surprised,thunderstruck,wonder

Haste anxious,breathless,flight,frantic,hastened,hastily,impatience,impatient,impatiently,impetuosity,precipitately,running,sudden,suddenly

Anger anger,angrily,choler,enraged,furious,fury,incense,incensed,provoked,rage,raving,resentment,temper,wrath,wrathful,wrathfully

Largeness enormous,gigantic,giant,large,tremendous,vast

Findaprogramonlinethatallowsyoutomakewordclouds.Putthesewordsandothersintoawordcloudorvisualmaptoshowtheirrelations.Addothersofyourownchoosing.Saveontoyourharddrive.

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Elements of Romance Inadditiontothestandardgothicmachineryabove,manygothicnovelscontainelementsofromanceaswell.Elementsofromanceincludethese:

1.Powerfullove.Heartstirring,oftensudden,emotionscreatealifeordeathcommitment.

2.Uncertaintyofreciprocation.Whatisthebelovedthinking?Isthelover'slovereturnedornot?

3.Unreturnedlove.Someonelovesinvain(atleasttemporarily).Later,thelovemaybereturned.

4.Tensionbetweentrueloveandfather'scontrol,disapproval,orchoice.Mostoften,thefatherofthewomandisapprovesofthemansheloves.

5.Loversparted.Someobstaclearisesandseparatesthelovers,geographicallyorinsomeotherway.

6.Illicitloveorlustthreatensthevirtuousone.Theyoungwomanbecomesatargetofsomeevilman'sdesiresandschemes.

7.Rivalloversormultiplesuitors.Oneofthelovers(orevenboth)canhavemorethanonepersonvyingforaffection.

Creative Task 1

Chooseatleastoneelementofagothicnovelandoneofthelistedmetonymsandwriteashortsceneaimingtoevokeagothicatmosphere.Tryusingsomeofthelanguagelistedandaddyourownwordstothelist!

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Class collection of work.

Throughoutthisunit,youwillbecomposingmanycreativeworkstoexpressyourknowledgeandunderstandingofthegenre.

Eachstudentwillproposeatleastthreedifferentworksforpublication.

Eachstudentwillworkoneditingeachother’sworkforpublication.

Acollationteamwillcollectthefinalworksofeachstudentandworkwiththeteachertoorganiseandpublishtheclasscollectionofwork.Youmayalsodecidetoincludeworkfromthroughouttheyear.

Yourteacherwillhavemoredetailsaboutthisprocessasyougoalong.

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The Raven - Edgar Alan Poe Interactive “Raven” http://www.teachersfirst.com/share/raven/ Once upon a midnight dreary, while I pondered weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. `'Tis some visitor,' I muttered, `tapping at my chamber door - Only this, and nothing more.' Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; - vainly I had sought to borrow From my books surcease of sorrow - sorrow for the lost Lenore - For the rare and radiant maiden whom the angels named Lenore - Nameless here for evermore. And the silken sad uncertain rustling of each purple curtain Thrilled me - filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating `'Tis some visitor entreating entrance at my chamber door - Some late visitor entreating entrance at my chamber door; - This it is, and nothing more,' Presently my soul grew stronger; hesitating then no longer, `Sir,' said I, `or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you' - here I opened wide the door; - Darkness there, and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before But the silence was unbroken, and the darkness gave no token, And the only word there spoken was the whispered word, `Lenore!' This I whispered, and an echo murmured back the word, `Lenore!' Merely this and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. `Surely,' said I, `surely that is something at my window lattice; Let me see then, what thereat is, and this mystery explore - Let my heart be still a moment and this mystery explore; - 'Tis the wind and nothing more!'

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Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore. Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door - Perched upon a bust of Pallas just above my chamber door - Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, `Though thy crest be shorn and shaven, thou,' I said, `art sure no craven. Ghastly grim and ancient raven wandering from the nightly shore - Tell me what thy lordly name is on the Night's Plutonian shore!' Quoth the raven, `Nevermore.' Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning - little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door - Bird or beast above the sculptured bust above his chamber door, With such name as `Nevermore.' But the raven, sitting lonely on the placid bust, spoke only, That one word, as if his soul in that one word he did outpour. Nothing further then he uttered - not a feather then he fluttered - Till I scarcely more than muttered `Other friends have flown before - On the morrow he will leave me, as my hopes have flown before.' Then the bird said, `Nevermore.' Startled at the stillness broken by reply so aptly spoken, `Doubtless,' said I, `what it utters is its only stock and store, Caught from some unhappy master whom unmerciful disaster Followed fast and followed faster till his songs one burden bore - Till the dirges of his hope that melancholy burden bore Of "Never-nevermore."' But the raven still beguiling all my sad soul into smiling, Straight I wheeled a cushioned seat in front of bird and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore - What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking `Nevermore.' This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom's core; This and more I sat divining, with my head at ease reclining On the cushion's velvet lining that the lamp-light gloated o'er,

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But whose velvet violet lining with the lamp-light gloating o'er, She shall press, ah, nevermore! Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. `Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee Respite - respite and nepenthe from thy memories of Lenore! Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!' Quoth the raven, `Nevermore.' `Prophet!' said I, `thing of evil! - prophet still, if bird or devil! - Whether tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted - On this home by horror haunted - tell me truly, I implore - Is there - is there balm in Gilead? - tell me - tell me, I implore!' Quoth the raven, `Nevermore.' `Prophet!' said I, `thing of evil! - prophet still, if bird or devil! By that Heaven that bends above us - by that God we both adore - Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels named Lenore - Clasp a rare and radiant maiden, whom the angels named Lenore?' Quoth the raven, `Nevermore.' `Be that word our sign of parting, bird or fiend!' I shrieked upstarting - `Get thee back into the tempest and the Night's Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! - quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!' Quoth the raven, `Nevermore.' And the raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted - nevermore!

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Dracula – Bram Stoker

TheProjectGutenbergEBookofDracula,byBramStoker

CHAPTER1

JonathanHarker’sJournal

3May.Bistritz.‐‐LeftMunichat8:35P.M.,on1stMay,arrivingatViennaearlynextmorning;shouldhavearrivedat6:46,buttrainwasanhourlate.Buda‐Pesthseemsawonderfulplace,fromtheglimpsewhichIgotofitfromthetrainandthelittleIcouldwalkthroughthestreets.Ifearedtogoveryfarfromthestation,aswehadarrivedlateandwouldstartasnearthecorrecttimeaspossible.TheimpressionIhadwasthatwewereleavingtheWestandenteringtheEast;themostwesternofsplendidbridgesovertheDanube,whichishereofnoblewidthanddepth,tookusamongthetraditionsofTurkishrule.Weleftinprettygoodtime,andcameafternightfalltoKlausenburgh.HereIstoppedforthenightattheHotelRoyale.Ihadfordinner,orrathersupper,achickendoneupsomewaywithredpepper,whichwasverygoodbutthirsty.(Mem.getrecipeforMina.)Iaskedthewaiter,andhesaiditwascalled"paprikahendl,"andthat,asitwasanationaldish,IshouldbeabletogetitanywherealongtheCarpathians.IfoundmysmatteringofGermanveryusefulhere,indeed,Idon’tknowhowIshouldbeabletogetonwithoutit.HavinghadsometimeatmydisposalwheninLondon,IhadvisitedtheBritishMuseum,andmadesearchamongthebooksandmapsinthelibraryregardingTransylvania;ithadstruckmethatsomeforeknowledgeofthecountrycouldhardlyfailtohavesomeimportanceindealingwithanoblemanofthatcountry.Ifindthatthedistricthenamedisintheextremeeastofthecountry,justonthebordersofthreestates,Transylvania,Moldavia,andBukovina,inthemidstoftheCarpathianmountains;oneofthewildestandleastknownportionsofEurope.IwasnotabletolightonanymaporworkgivingtheexactlocalityoftheCastleDracula,astherearenomapsofthiscountryasyettocomparewithourownOrdanceSurveyMaps;butIfoundthatBistritz,theposttownnamedbyCountDracula,isafairlywell‐knownplace.Ishallenterheresomeofmynotes,astheymayrefreshmymemorywhenItalkovermytravelswithMina.InthepopulationofTransylvaniatherearefourdistinctnationalities:SaxonsintheSouth,andmixedwiththemtheWallachs,whoarethedescendantsoftheDacians;MagyarsintheWest,andSzekelysintheEastandNorth.Iamgoingamongthelatter,whoclaimtobedescendedfromAttilaandtheHuns.Thismaybeso,forwhentheMagyarsconqueredthecountryintheeleventhcenturytheyfoundtheHunssettledinit.IreadthateveryknownsuperstitionintheworldisgatheredintothehorseshoeoftheCarpathians,asifitwerethecentreofsomesortofimaginativewhirlpool;ifsomystaymaybeveryinteresting.(Mem.,ImustasktheCountallaboutthem.)Ididnotsleepwell,thoughmybedwascomfortableenough,forIhadallsortsofqueerdreams.Therewasadoghowlingallnightundermywindow,whichmayhavehadsomethingtodowithit;oritmayhavebeenthepaprika,forIhadtodrinkupallthewaterinmycarafe,andwasstillthirsty.TowardsmorningIsleptandwaswakenedbythecontinuousknockingatmydoor,soIguessImusthavebeensleepingsoundlythen.Ihadforbreakfastmorepaprika,andasortofporridgeofmaizeflourwhichtheysaidwas"mamaliga",andegg‐plantstuffedwithforcemeat,averyexcellentdish,whichtheycall"impletata".(Mem.,getrecipeforthisalso.)Ihadtohurrybreakfast,forthetrainstartedalittlebeforeeight,orratheritoughttohavedoneso,forafterrushingtothestationat7:30Ihadtositinthecarriageformorethananhourbeforewebegantomove.Itseemstomethatthefurthereastyougothemore

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unpunctualarethetrains.WhatoughttheytobeinChina?Alldaylongweseemedtodawdlethroughacountrywhichwasfullofbeautyofeverykind.Sometimeswesawlittletownsorcastlesonthetopofsteephillssuchasweseeinoldmissals;sometimesweranbyriversandstreamswhichseemedfromthewidestonymarginoneachsideofthemtobesubjecttogreatfloods.Ittakesalotofwater,andrunningstrong,tosweeptheoutsideedgeofariverclear.Ateverystationthereweregroupsofpeople,sometimescrowds,andinallsortsofattire.SomeofthemwerejustlikethepeasantsathomeorthoseIsawcomingthroughFranceandGermany,withshortjackets,androundhats,andhome‐madetrousers;butotherswereverypicturesque.Thewomenlookedpretty,exceptwhenyougotnearthem,buttheywereveryclumsyaboutthewaist.Theyhadallfullwhitesleevesofsomekindorother,andmostofthemhadbigbeltswithalotofstripsofsomethingflutteringfromthemlikethedressesinaballet,butofcoursetherewerepetticoatsunderthem.ThestrangestfigureswesawweretheSlovaks,whoweremorebarbarianthantherest,withtheirbigcow‐boyhats,greatbaggydirty‐whitetrousers,whitelinenshirts,andenormousheavyleatherbelts,nearlyafootwide,allstuddedoverwithbrassnails.Theyworehighboots,withtheirtrouserstuckedintothem,andhadlongblackhairandheavyblackmoustaches.Theyareverypicturesque,butdonotlookprepossessing.OnthestagetheywouldbesetdownatonceassomeoldOrientalbandofbrigands.Theyare,however,Iamtold,veryharmlessandratherwantinginnaturalself‐assertion.ItwasonthedarksideoftwilightwhenwegottoBistritz,whichisaveryinterestingoldplace.Beingpracticallyonthefrontier‐‐fortheBorgoPassleadsfromitintoBukovina‐‐ithashadaverystormyexistence,anditcertainlyshowsmarksofit.Fiftyyearsagoaseriesofgreatfirestookplace,whichmadeterriblehavoconfiveseparateoccasions.Attheverybeginningoftheseventeenthcenturyitunderwentasiegeofthreeweeksandlost13,000people,thecasualtiesofwarproperbeingassistedbyfamineanddisease.CountDraculahaddirectedmetogototheGoldenKroneHotel,whichIfound,tomygreatdelight,tobethoroughlyold‐fashioned,forofcourseIwantedtoseeallIcouldofthewaysofthecountry.Iwasevidentlyexpected,forwhenIgotnearthedoorIfacedacheery‐lookingelderlywomanintheusualpeasantdress‐‐whiteundergarmentwithalongdoubleapron,front,andback,ofcolouredstufffittingalmosttootightformodesty.WhenIcamecloseshebowedandsaid,"TheHerrEnglishman?""Yes,"Isaid,"JonathanHarker."Shesmiled,andgavesomemessagetoanelderlymaninwhiteshirtsleeves,whohadfollowedhertothedoor.Hewent,butimmediatelyreturnedwithaletter:"Myfriend.‐‐WelcometotheCarpathians.Iamanxiouslyexpectingyou.Sleepwelltonight.AtthreetomorrowthediligencewillstartforBukovina;aplaceonitiskeptforyou.AttheBorgoPassmycarriagewillawaityouandwillbringyoutome.ItrustthatyourjourneyfromLondonhasbeenahappyone,andthatyouwillenjoyyourstayinmybeautifulland.‐‐Yourfriend,Dracula."4May‐‐IfoundthatmylandlordhadgotaletterfromtheCount,directinghimtosecurethebestplaceonthecoachforme;butonmakinginquiriesastodetailsheseemedsomewhatreticent,andpretendedthathecouldnotunderstandmyGerman.Thiscouldnotbetrue,becauseuptothenhehadunderstooditperfectly;atleast,heansweredmyquestionsexactlyasifhedid.Heandhiswife,theoldladywhohadreceivedme,lookedateachotherinafrightenedsortofway.Hemumbledoutthatthemoneyhadbeensentinaletter,andthatwasallheknew.WhenIaskedhimifheknewCountDracula,andcouldtellmeanythingofhiscastle,bothheandhiswifecrossedthemselves,and,sayingthattheyknewnothingatall,simplyrefusedtospeakfurther.ItwassonearthetimeofstartingthatIhadnotimetoaskanyoneelse,foritwasallverymysteriousandnotbyanymeanscomforting.JustbeforeIwasleaving,theoldladycameuptomyroomandsaidinahystericalway:"Mustyougo?Oh!YoungHerr,mustyougo?"ShewasinsuchanexcitedstatethatsheseemedtohavelosthergripofwhatGermansheknew,andmixeditallupwithsomeotherlanguagewhichIdidnotknowatall.Iwasjustabletofollowherbyaskingmanyquestions.WhenItoldherthatImustgoatonce,and

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thatIwasengagedonimportantbusiness,sheaskedagain:"Doyouknowwhatdayitis?"IansweredthatitwasthefourthofMay.Sheshookherheadasshesaidagain:"Oh,yes!Iknowthat!Iknowthat,butdoyouknowwhatdayitis?"OnmysayingthatIdidnotunderstand,shewenton:"ItistheeveofSt.George’sDay.Doyounotknowthattonight,whentheclockstrikesmidnight,alltheevilthingsintheworldwillhavefullsway?Doyouknowwhereyouaregoing,andwhatyouaregoingto?"ShewasinsuchevidentdistressthatItriedtocomforther,butwithouteffect.Finally,shewentdownonherkneesandimploredmenottogo;atleasttowaitadayortwobeforestarting.ItwasallveryridiculousbutIdidnotfeelcomfortable.However,therewasbusinesstobedone,andIcouldallownothingtointerferewithit.Itriedtoraiseherup,andsaid,asgravelyasIcould,thatIthankedher,butmydutywasimperative,andthatImustgo.Shethenroseanddriedhereyes,andtakingacrucifixfromherneckofferedittome.Ididnotknowwhattodo,for,asanEnglishChurchman,Ihavebeentaughttoregardsuchthingsasinsomemeasureidolatrous,andyetitseemedsoungracioustorefuseanoldladymeaningsowellandinsuchastateofmind.Shesaw,Isuppose,thedoubtinmyface,forsheputtherosaryroundmyneckandsaid,"Foryourmother’ssake,"andwentoutoftheroom.IamwritingupthispartofthediarywhilstIamwaitingforthecoach,whichis,ofcourse,late;andthecrucifixisstillroundmyneck.Whetheritistheoldlady’sfear,orthemanyghostlytraditionsofthisplace,orthecrucifixitself,Idonotknow,butIamnotfeelingnearlyaseasyinmymindasusual.IfthisbookshouldeverreachMinabeforeIdo,letitbringmygoodbye.Herecomesthecoach!5May.TheCastle.‐‐Thegrayofthemorninghaspassed,andthesunishighoverthedistanthorizon,whichseemsjagged,whetherwithtreesorhillsIknownot,foritissofaroffthatbigthingsandlittlearemixed.Iamnotsleepy,and,asIamnottobecalledtillIawake,naturallyIwritetillsleepcomes.Therearemanyoddthingstoputdown,and,lestwhoreadsthemmayfancythatIdinedtoowellbeforeIleftBistritz,letmeputdownmydinnerexactly.Idinedonwhattheycalled"robbersteak"‐‐bitsofbacon,onion,andbeef,seasonedwithredpepper,andstrungonsticks,androastedoverthefire,insimplestyleoftheLondoncat’smeat!ThewinewasGoldenMediasch,whichproducesaqueerstingonthetongue,whichis,however,notdisagreeable.Ihadonlyacoupleofglassesofthis,andnothingelse.WhenIgotonthecoach,thedriverhadnottakenhisseat,andIsawhimtalkingtothelandlady.Theywereevidentlytalkingofme,foreverynowandthentheylookedatme,andsomeofthepeoplewhoweresittingonthebenchoutsidethedoor‐‐cameandlistened,andthenlookedatme,mostofthempityingly.Icouldhearalotofwordsoftenrepeated,queerwords,forthereweremanynationalitiesinthecrowd,soIquietlygotmypolyglotdictionaryfrommybagandlookedthemout.Imustsaytheywerenotcheeringtome,foramongstthemwere"Ordog"‐‐Satan,"Pokol"‐‐hell,"stregoica"‐‐witch,"vrolok"and"vlkoslak"‐‐bothmeanthesamething,onebeingSlovakandtheotherServianforsomethingthatiseitherwerewolforvampire.(Mem.,ImustasktheCountaboutthesesuperstitions.)Whenwestarted,thecrowdroundtheinndoor,whichhadbythistimeswelledtoaconsiderablesize,allmadethesignofthecrossandpointedtwofingerstowardsme.Withsomedifficulty,Igotafellowpassengertotellmewhattheymeant.Hewouldnotansweratfirst,butonlearningthatIwasEnglish,heexplainedthatitwasacharmorguardagainsttheevileye.Thiswasnotverypleasantforme,juststartingforanunknownplacetomeetanunknownman.Buteveryoneseemedsokind‐hearted,andsosorrowful,andsosympatheticthatIcouldnotbutbetouched.IshallneverforgetthelastglimpsewhichIhadoftheinnyardanditscrowdofpicturesquefigures,allcrossingthemselves,astheystoodroundthewidearchway,withitsbackgroundofrichfoliageofoleanderandorangetreesingreentubsclusteredinthecentreoftheyard.Thenourdriver,whosewidelinendrawerscoveredthewholefrontoftheboxseat,‐‐"gotza"theycallthem‐‐crackedhisbigwhipoverhisfoursmallhorses,whichranabreast,andwesetoffonourjourney.Isoonlostsightandrecollectionofghostlyfearsinthebeautyofthesceneaswe

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drovealong,althoughhadIknownthelanguage,orratherlanguages,whichmyfellow‐passengerswerespeaking,Imightnothavebeenabletothrowthemoffsoeasily.Beforeuslayagreenslopinglandfullofforestsandwoods,withhereandtheresteephills,crownedwithclumpsoftreesorwithfarmhouses,theblankgableendtotheroad.Therewaseverywhereabewilderingmassoffruitblossom‐‐apple,plum,pear,cherry.AndaswedrovebyIcouldseethegreengrassunderthetreesspangledwiththefallenpetals.Inandoutamongstthesegreenhillsofwhattheycallherethe"MittelLand"rantheroad,losingitselfasitsweptroundthegrassycurve,orwasshutoutbythestragglingendsofpinewoods,whichhereandthererandownthehillsidesliketonguesofflame.Theroadwasrugged,butstillweseemedtoflyoveritwithafeverishhaste.Icouldnotunderstandthenwhatthehastemeant,butthedriverwasevidentlybentonlosingnotimeinreachingBorgoPrund.Iwastoldthatthisroadisinsummertimeexcellent,butthatithadnotyetbeenputinorderafterthewintersnows.InthisrespectitisdifferentfromthegeneralrunofroadsintheCarpathians,foritisanoldtraditionthattheyarenottobekeptintoogoodorder.OfoldtheHospadarswouldnotrepairthem,lesttheTurkshouldthinkthattheywerepreparingtobringinforeigntroops,andsohastenthewarwhichwasalwaysreallyatloadingpoint.BeyondthegreenswellinghillsoftheMittelLandrosemightyslopesofforestuptotheloftysteepsoftheCarpathiansthemselves.Rightandleftofustheytowered,withtheafternoonsunfallingfulluponthemandbringingoutallthegloriouscoloursofthisbeautifulrange,deepblueandpurpleintheshadowsofthepeaks,greenandbrownwheregrassandrockmingled,andanendlessperspectiveofjaggedrockandpointedcrags,tillthesewerethemselveslostinthedistance,wherethesnowypeaksrosegrandly.Hereandthereseemedmightyriftsinthemountains,throughwhich,asthesunbegantosink,wesawnowandagainthewhitegleamoffallingwater.Oneofmycompanionstouchedmyarmaswesweptroundthebaseofahillandopenedupthelofty,snow‐coveredpeakofamountain,whichseemed,aswewoundonourserpentineway,toberightbeforeus."Look!Istenszek!"‐‐"God’sseat!"‐‐andhecrossedhimselfreverently.Aswewoundonourendlessway,andthesunsanklowerandlowerbehindus,theshadowsoftheeveningbegantocreeproundus.Thiswasemphasizedbythefactthatthesnowymountain‐topstillheldthesunset,andseemedtoglowoutwithadelicatecoolpink.HereandtherewepassedCszeksandslovaks,allinpicturesqueattire,butInoticedthatgoitrewaspainfullyprevalent.Bytheroadsideweremanycrosses,andaswesweptby,mycompanionsallcrossedthemselves.Hereandtherewasapeasantmanorwomankneelingbeforeashrine,whodidnoteventurnroundasweapproached,butseemedintheself‐surrenderofdevotiontohaveneithereyesnorearsfortheouterworld.Thereweremanythingsnewtome.Forinstance,hay‐ricksinthetrees,andhereandthereverybeautifulmassesofweepingbirch,theirwhitestemsshininglikesilverthroughthedelicategreenoftheleaves.Nowandagainwepassedaleiter‐wagon‐‐theordinarypeasants’scart‐‐withitslong,snakelikevertebra,calculatedtosuittheinequalitiesoftheroad.Onthisweresuretobeseatedquiteagroupofhomecomingpeasants,theCszekswiththeirwhite,andtheSlovakswiththeircolouredsheepskins,thelattercarryinglance‐fashiontheirlongstaves,withaxeatend.Astheeveningfellitbegantogetverycold,andthegrowingtwilightseemedtomergeintoonedarkmistinessthegloomofthetrees,oak,beech,andpine,thoughinthevalleyswhichrandeepbetweenthespursofthehills,asweascendedthroughthePass,thedarkfirsstoodouthereandthereagainstthebackgroundoflate‐lyingsnow.Sometimes,astheroadwascutthroughthepinewoodsthatseemedinthedarknesstobeclosingdownuponus,greatmassesofgreynesswhichhereandtherebestrewedthetrees,producedapeculiarlyweirdandsolemneffect,whichcarriedonthethoughtsandgrimfanciesengenderedearlierintheevening,whenthefallingsunsetthrewintostrangerelieftheghost‐likecloudswhichamongsttheCarpathiansseemtowindceaselesslythroughthevalleys.Sometimesthehillsweresosteepthat,despiteourdriver’shaste,thehorsescouldonlygoslowly.Iwishedto

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getdownandwalkupthem,aswedoathome,butthedriverwouldnothearofit."No,no,"hesaid."Youmustnotwalkhere.Thedogsaretoofierce."Andthenheadded,withwhatheevidentlymeantforgrimpleasantry‐‐forhelookedroundtocatchtheapprovingsmileoftherest‐‐"Andyoumayhaveenoughofsuchmattersbeforeyougotosleep."Theonlystophewouldmakewasamoment’spausetolighthislamps.Whenitgrewdarkthereseemedtobesomeexcitementamongstthepassengers,andtheykeptspeakingtohim,oneaftertheother,asthoughurginghimtofurtherspeed.Helashedthehorsesunmercifullywithhislongwhip,andwithwildcriesofencouragementurgedthemontofurtherexertions.ThenthroughthedarknessIcouldseeasortofpatchofgreylightaheadofus,asthoughtherewereacleftinthehills.Theexcitementofthepassengersgrewgreater.Thecrazycoachrockedonitsgreatleathersprings,andswayedlikeaboattossedonastormysea.Ihadtoholdon.Theroadgrewmorelevel,andweappearedtoflyalong.Thenthemountainsseemedtocomenearertousoneachsideandtofrowndownuponus.WewereenteringontheBorgoPass.Onebyoneseveralofthepassengersofferedmegifts,whichtheypresseduponmewithanearnestnesswhichwouldtakenodenial.Thesewerecertainlyofanoddandvariedkind,buteachwasgiveninsimplegoodfaith,withakindlyword,andablessing,andthatsamestrangemixtureoffear‐meaningmovementswhichIhadseenoutsidethehotelatBistritz‐‐thesignofthecrossandtheguardagainsttheevileye.Then,asweflewalong,thedriverleanedforward,andoneachsidethepassengers,craningovertheedgeofthecoach,peeredeagerlyintothedarkness.Itwasevidentthatsomethingveryexcitingwaseitherhappeningorexpected,butthoughIaskedeachpassenger,noonewouldgivemetheslightestexplanation.Thisstateofexcitementkeptonforsomelittletime.AndatlastwesawbeforeusthePassopeningoutontheeasternside.Thereweredark,rollingcloudsoverhead,andintheairtheheavy,oppressivesenseofthunder.Itseemedasthoughthemountainrangehadseparatedtwoatmospheres,andthatnowwehadgotintothethunderousone.IwasnowmyselflookingoutfortheconveyancewhichwastotakemetotheCount.EachmomentIexpectedtoseetheglareoflampsthroughtheblackness,butallwasdark.Theonlylightwastheflickeringraysofourownlamps,inwhichthesteamfromourhard‐drivenhorsesroseinawhitecloud.Wecouldseenowthesandyroadlyingwhitebeforeus,buttherewasonitnosignofavehicle.Thepassengersdrewbackwithasighofgladness,whichseemedtomockmyowndisappointment.IwasalreadythinkingwhatIhadbestdo,whenthedriver,lookingathiswatch,saidtotheotherssomethingwhichIcouldhardlyhear,itwasspokensoquietlyandinsolowatone,Ithoughtitwas"Anhourlessthanthetime."Thenturningtome,hespokeinGermanworsethanmyown."Thereisnocarriagehere.TheHerrisnotexpectedafterall.HewillnowcomeontoBukovina,andreturntomorroworthenextday,betterthenextday."Whilsthewasspeakingthehorsesbegantoneighandsnortandplungewildly,sothatthedriverhadtoholdthemup.Then,amongstachorusofscreamsfromthepeasantsandauniversalcrossingofthemselves,acaleche,withfourhorses,droveupbehindus,overtookus,anddrewupbesidethecoach.Icouldseefromtheflashofourlampsastheraysfellonthem,thatthehorseswerecoal‐blackandsplendidanimals.Theyweredrivenbyatallman,withalongbrownbeardandagreatblackhat,whichseemedtohidehisfacefromus.Icouldonlyseethegleamofapairofverybrighteyes,whichseemedredinthelamplight,asheturnedtous.Hesaidtothedriver,"Youareearlytonight,myfriend."Themanstammeredinreply,"TheEnglishHerrwasinahurry."Towhichthestrangerreplied,"Thatiswhy,Isuppose,youwishedhimtogoontoBukovina.Youcannotdeceiveme,myfriend.Iknowtoomuch,andmyhorsesareswift."Ashespokehesmiled,andthelamplightfellonahard‐lookingmouth,withveryredlipsandsharp‐lookingteeth,aswhiteasivory.OneofmycompanionswhisperedtoanotherthelinefromBurger’s"Lenore"."DenndieTodtenreitenSchnell."("Forthedeadtravelfast.")Thestrangedriverevidentlyheardthewords,forhelookedupwithagleamingsmile.Thepassengerturnedhisfaceaway,atthesametimeputtingouthis

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twofingersandcrossinghimself."GivemetheHerr’sluggage,"saidthedriver,andwithexceedingalacritymybagswerehandedoutandputinthecaleche.ThenIdescendedfromthesideofthecoach,asthecalechewasclosealongside,thedriverhelpingmewithahandwhichcaughtmyarminagripofsteel.Hisstrengthmusthavebeenprodigious.Withoutawordheshookhisreins,thehorsesturned,andwesweptintothedarknessofthepass.AsIlookedbackIsawthesteamfromthehorsesofthecoachbythelightofthelamps,andprojectedagainstitthefiguresofmylatecompanionscrossingthemselves.Thenthedrivercrackedhiswhipandcalledtohishorses,andofftheysweptontheirwaytoBukovina.AstheysankintothedarknessIfeltastrangechill,andalonelyfeelingcomeoverme.Butacloakwasthrownovermyshoulders,andarugacrossmyknees,andthedriversaidinexcellentGerman‐‐"Thenightischill,meinHerr,andmymastertheCountbademetakeallcareofyou.Thereisaflaskofslivovitz(theplumbrandyofthecountry)underneaththeseat,ifyoushouldrequireit."Ididnottakeany,butitwasacomforttoknowitwasthereallthesame.Ifeltalittlestrangely,andnotalittlefrightened.IthinkhadtherebeenanyalternativeIshouldhavetakenit,insteadofprosecutingthatunknownnightjourney.Thecarriagewentatahardpacestraightalong,thenwemadeacompleteturnandwentalonganotherstraightroad.Itseemedtomethatweweresimplygoingoverandoverthesamegroundagain,andsoItooknoteofsomesalientpoint,andfoundthatthiswasso.Iwouldhavelikedtohaveaskedthedriverwhatthisallmeant,butIreallyfearedtodoso,forIthoughtthat,placedasIwas,anyprotestwouldhavehadnoeffectincasetherehadbeenanintentiontodelay.By‐and‐by,however,asIwascurioustoknowhowtimewaspassing,Istruckamatch,andbyitsflamelookedatmywatch.Itwaswithinafewminutesofmidnight.Thisgavemeasortofshock,forIsupposethegeneralsuperstitionaboutmidnightwasincreasedbymyrecentexperiences.Iwaitedwithasickfeelingofsuspense.Thenadogbegantohowlsomewhereinafarmhousefardowntheroad,along,agonizedwailing,asiffromfear.Thesoundwastakenupbyanotherdog,andthenanotherandanother,till,borneonthewindwhichnowsighedsoftlythroughthePass,awildhowlingbegan,whichseemedtocomefromalloverthecountry,asfarastheimaginationcouldgraspitthroughthegloomofthenight.Atthefirsthowlthehorsesbegantostrainandrear,butthedriverspoketothemsoothingly,andtheyquieteddown,butshiveredandsweatedasthoughafterarunawayfromsuddenfright.Then,faroffinthedistance,fromthemountainsoneachsideofusbeganalouderandasharperhowling,thatofwolves,whichaffectedboththehorsesandmyselfinthesameway.ForIwasmindedtojumpfromthecalecheandrun,whilsttheyrearedagainandplungedmadly,sothatthedriverhadtouseallhisgreatstrengthtokeepthemfrombolting.Inafewminutes,however,myownearsgotaccustomedtothesound,andthehorsessofarbecamequietthatthedriverwasabletodescendandtostandbeforethem.Hepettedandsoothedthem,andwhisperedsomethingintheirears,asIhaveheardofhorse‐tamersdoing,andwithextraordinaryeffect,forunderhiscaressestheybecamequitemanageableagain,thoughtheystilltrembled.Thedriveragaintookhisseat,andshakinghisreins,startedoffatagreatpace.Thistime,aftergoingtothefarsideofthePass,hesuddenlyturneddownanarrowroadwaywhichransharplytotheright.Soonwewerehemmedinwithtrees,whichinplacesarchedrightovertheroadwaytillwepassedasthroughatunnel.Andagaingreatfrowningrocksguardedusboldlyoneitherside.Thoughwewereinshelter,wecouldheartherisingwind,foritmoanedandwhistledthroughtherocks,andthebranchesofthetreescrashedtogetheraswesweptalong.Itgrewcolderandcolderstill,andfine,powderysnowbegantofall,sothatsoonweandallarounduswerecoveredwithawhiteblanket.Thekeenwindstillcarriedthehowlingofthedogs,thoughthisgrewfainteraswewentonourway.Thebayingofthewolvessoundednearerandnearer,asthoughtheywereclosingroundonusfromeveryside.Igrewdreadfullyafraid,andthehorsessharedmyfear.Thedriver,however,wasnotintheleastdisturbed.Hekeptturninghisheadtoleftandright,butIcouldnotseeanythingthroughthedarkness.

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Suddenly,awayonourleftIsawafaintflickeringblueflame.Thedriversawitatthesamemoment.Heatoncecheckedthehorses,and,jumpingtotheground,disappearedintothedarkness.Ididnotknowwhattodo,thelessasthehowlingofthewolvesgrewcloser.ButwhileIwondered,thedriversuddenlyappearedagain,andwithoutawordtookhisseat,andweresumedourjourney.IthinkImusthavefallenasleepandkeptdreamingoftheincident,foritseemedtoberepeatedendlessly,andnowlookingback,itislikeasortofawfulnightmare.Oncetheflameappearedsoneartheroad,thateveninthedarknessaroundusIcouldwatchthedriver’smotions.Hewentrapidlytowheretheblueflamearose,itmusthavebeenveryfaint,foritdidnotseemtoilluminetheplacearounditatall,andgatheringafewstones,formedthemintosomedevice.Oncethereappearedastrangeopticaleffect.Whenhestoodbetweenmeandtheflamehedidnotobstructit,forIcouldseeitsghostlyflickerallthesame.Thisstartledme,butastheeffectwasonlymomentary,Itookitthatmyeyesdeceivedmestrainingthroughthedarkness.Thenforatimetherewerenoblueflames,andwespedonwardsthroughthegloom,withthehowlingofthewolvesaroundus,asthoughtheywerefollowinginamovingcircle.Atlasttherecameatimewhenthedriverwentfurtherafieldthanhehadyetgone,andduringhisabsence,thehorsesbegantotrembleworsethaneverandtosnortandscreamwithfright.Icouldnotseeanycauseforit,forthehowlingofthewolveshadceasedaltogether.Butjustthenthemoon,sailingthroughtheblackclouds,appearedbehindthejaggedcrestofabeetling,pine‐cladrock,andbyitslightIsawaroundusaringofwolves,withwhiteteethandlollingredtongues,withlong,sinewylimbsandshaggyhair.Theywereahundredtimesmoreterribleinthegrimsilencewhichheldthemthanevenwhentheyhowled.Formyself,Ifeltasortofparalysisoffear.Itisonlywhenamanfeelshimselffacetofacewithsuchhorrorsthathecanunderstandtheirtrueimport.Allatoncethewolvesbegantohowlasthoughthemoonlighthadhadsomepeculiareffectonthem.Thehorsesjumpedaboutandreared,andlookedhelplesslyroundwitheyesthatrolledinawaypainfultosee.Butthelivingringofterrorencompassedthemoneveryside,andtheyhadperforcetoremainwithinit.Icalledtothecoachmantocome,foritseemedtomethatouronlychancewastotrytobreakoutthroughtheringandtoaidhisapproach,Ishoutedandbeatthesideofthecaleche,hopingbythenoisetoscarethewolvesfromtheside,soastogivehimachanceofreachingthetrap.Howhecamethere,Iknownot,butIheardhisvoiceraisedinatoneofimperiouscommand,andlookingtowardsthesound,sawhimstandintheroadway.Asheswepthislongarms,asthoughbrushingasidesomeimpalpableobstacle,thewolvesfellbackandbackfurtherstill.Justthenaheavycloudpassedacrossthefaceofthemoon,sothatwewereagainindarkness.WhenIcouldseeagainthedriverwasclimbingintothecaleche,andthewolvesdisappeared.Thiswasallsostrangeanduncannythatadreadfulfearcameuponme,andIwasafraidtospeakormove.Thetimeseemedinterminableaswesweptonourway,nowinalmostcompletedarkness,fortherollingcloudsobscuredthemoon.Wekeptonascending,withoccasionalperiodsofquickdescent,butinthemainalwaysascending.Suddenly,Ibecameconsciousofthefactthatthedriverwasintheactofpullingupthehorsesinthecourtyardofavastruinedcastle,fromwhosetallblackwindowscamenorayoflight,andwhosebrokenbattlementsshowedajaggedlineagainstthesky.

Copythischapterintowordoranotherprogramthatallowsyoutoannotatethetext.Workinpairstoannotatethetext.Provideinformationaboutthegothicelementsinthestory,contextualnotesaswellasinterestingnotesaboutthetextitselfincludingananalysisoftheuseoftechniques.Ifyoucan,includeimagesandsoundeffectsormusictoaddtotheexperience.Youcandesigntheseimagesorcomposethemusicorsorcethem(legally)fromtheinternet.

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Ifyouwishtochallengeyourselffurther,youmaychoosetodoadifferentchapterfromthenovel.Theyarereasonablyeasytofindontheinternet.

ComposealetterfromDraculatosomeoneinvitingthemtohiscastle.YoumayneedtosomeresearchintohowDracularmayspeak,howalettershouldbeformattedandhowtoexpressyouselfcreatively.

YouhavebeenaskedtowriteapitchforanewDraculafilm.Considerthevampirefilmadaptationsyouhaveseeninclass.Whatcanyoudifferently?HowcanyoudifferentiateyourfilmfromwhathasbeendoneandthecurrentTwilighttrend?Howwouldyoucastthefilm?Wherewouldyoufilmit?WhatelementsfromDraculawouldyoufocusonandwhateffectwouldyouhopetohave?Whatchangeswouldyouliketomake?

Formulateyourpitchintoaformallettertoaspecificproductioncompany.Youmayneedto

do some research in how to write a pitching letter and your chosen production company.

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King Verence Becomes A Ghost – Terry Pratchett ThefollowingisaconversationbetweenakingwhohasjustbeenmurderedandDeath,whohasarrivedtotellthekingthathemustbecomeaghost.

YOU’REUNDEAD,YOUSEE.GHOSTSINHABITAWORLDBETWEENTHELIVINGANDTHEDEAD.IT’SNOTMYRESPONSIBILITY.Hepattedthekingontheshoulder.DON’TWORRY,hesad,ITWON’TBEFOREVER.

‘Good.’

ITMAYSEEMLIKEFOREVER.

‘Howlongwillitreallybe?’

UNTILYOUHAVEFULFILLEDYOURDESTINY,IASSUME.

‘AndhowwillIknowwhatmydestinyis?’saidtheking,desperately.

CAN’THELPTHERE.I’MSORRY.

‘Wel,howcanIfindout?’

THESETHINGSGENERALLYBECOMEAPPARENT,IUNDERSTAND,saidDeath,andswunghimselfintothesaddle.

‘AnduntilthenIhavetohauntthisplace.’KingVerencestaredaroundatthedraghtybattlements.‘AllaloneIsuppose.Won’tanyonebeabletoseeme?’

OHTHEPSYCHICALLYINCLINED.CLOSERELATIVES.ANDCATS,OFCOURSE.

Thekindstaredgloomilyatthedawn.Hisdogs.He’dreallymisshisdogs.Anditlookedlikesuchagoodhuntingday.

Hewonderedifghostshunted.Almostcertainlynot,heimagined.Orate,ordrankeitherforthatmatter,andthatwasreallydepressing.Helikedabignoisybanquetandhadquaffed*manyagoodpintofgoodale.

Hekickeddespondentlyatastone,andnotedgloomilythathisfootwentrightthroughit.Nohunting,drinking,carousing,nowassailing,nohawking,itwasdawningonhimthatthepleasuresofthefleshwereprettysparsewithoutflesh.Suddenlylifewasn’tworthliving.Thefactthathewasn’tlivingitdidn’tcheerhimupatall.

SOMEPEOPLELIKETOBEGHOSTS,sadDeath.

‘Hmm?’saidVerence,gloomily.

IT’SNOTSUCHAWRENCH,IASSUME.THEYCANSEEHOWTHEIRDESCENDANTSGETON.

*Quaffingislikedrinking,butyouspillmore.

FromWyrdSistersbyTerryPratchett

HowdoesDeathdescribeghosts?Whatgenre‐basedformdoesthisimplythetextis?(Appropriation/SubvertedReadings/Intertextuality)Howso?

WhatdoyouthinkVerence’sdestinymightbe?Whatmakesyouthinkthis?WriteashortscenewhereVerencefindsout/realiseshisdestiny.Howdoeshefigurethisout?Howlonghashebeendeadfor?Howdoeshefeelabouthisdestiny?

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Write A Gothic Story

Assignment:WriteashortstoryutilisingtheelementsoftheGothicHorrorGenre

Hints

Settingthescene

Beginyourstorywithuptotwoparagraphssettingtheinitialscene(thisdoesnotmeanyoucan’taddmorelater!).Whatisfrightening?Howisyourcharacterreactingtothesetting?

Thespookycharacter

Includeadescriptionoftheplace’sreputation.Whydoesitstrikefearintopeople?Somethingevilislurking.Istheplacehauntedbyghosts,thehomeofavampire,thelairofawerewolf?

Thecharacter’sfeelings

Describehowyourcharacterfeelsatthebeginningofthestory.Nervous?Excited?Brave?Whathappenstosuddenlyfrightenhimorher?Writeabouthowhisorherfeelingschangebecauseoftheeventsthattakeplace.

Buildupsuspense

Useshortsentences,anddragouttheeventsinthelastcoupleofparagraphs.

Theend

Yourendingshouldbestrong.Thinkaboutwhetheryouwillrevealall,orleaveyourreadersguessingaboutthetruenatureofthegothicplace.Youcouldendthestorywithacliff‐hangeroratwist.

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Vampire Handbook

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Setting the Scene

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The Castle

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Frankenstein’s Monster

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Creating A Monster

MaryShelleywroteFrankensteinin1818,whenshewasstillateenager.Itisaclassicstoryofthemadprofessorcreatingamonsterhecannotcontrol.

Readthepassagecarefullyandanswerthefollowingquestions:

1. Howdoesthenarratordescribethesettingbeforethemonsterawakes?Whatkindofatmosphereiscreatedbythisdescription?

2. Inyourownwords,explainthefirstthreethingsthemonsterdoeswhenitcomestolife.

3. Inthesecondparagraphthemosterisdescribedindetail.Itdoeshavesomeattractivefeatures.Whatare?WhydoyouthinkShelleyincludedthese?Whateffectdoesithave?

4. WriteyourowndescriptionofFrankenstein’smonster.Youshouldconsiderthefollowing:

• Itshair

• Itsteeth

• Howitsskinlooks

• Itseyesandsockets

• Thecolourofitslips

5. Dr.Frankensteinrunsawayformthemonster.Explainindetailwhyyouthinkhedoesthis.Youmayneedtodosomemoreresearchaboutthewholestorytoanswerthis.

Imaginyou,likeDr.Frankenstein,havecreatedamonster.Writeadescriptionofthemomentitwokeup.

Trytoincludethefollowing:

• Aspookysettingforyourtale.

• Describeindetailwhatthemonsterlooks,smalls,feelsandsoundslike.Doesitspeaktoyou?Howdoesitmove?

• Describeyourownfeelinswhenyouseethemonstercomealive.