This article was downloaded by: [University of Texas Libraries]On: 25 November 2014, At: 14:23Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registered office: MortimerHouse, 37-41 Mortimer Street, London W1T 3JH, UK

European Romantic ReviewPublication details, including instructions for authors and subscription information:http://www.tandfonline.com/loi/gerr20

The gothic ghost as counterfeit and its haunting ofromanticism: The case of “frost at midnight”Jerrold E. Hogle aa University of ArizonaPublished online: 03 Jun 2008.

To cite this article: Jerrold E. Hogle (1998) The gothic ghost as counterfeit and its haunting of romanticism: The case of“frost at midnight”, European Romantic Review, 9:2, 283-292, DOI: 10.1080/10509589808570054

To link to this article: http://dx.doi.org/10.1080/10509589808570054

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) containedin the publications on our platform. However, Taylor & Francis, our agents, and our licensors make norepresentations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose ofthe Content. Any opinions and views expressed in this publication are the opinions and views of the authors,and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be reliedupon and should be independently verified with primary sources of information. Taylor and Francis shallnot be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and otherliabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to orarising out of the use of the Content.

This article may be used for research, teaching, and private study purposes. Any substantial or systematicreproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in anyform to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

The Gothic Ghost asCounterfeit and its Hauntingof Romanticism:

The Case of "Frost at Midnight"

Jerrold E. HogleThanks especially to Anne Williams, we are no longer in any doubt that

the Gothic and what we call the "Romantic" in poetry are symbioticallyinterrelated, especially in some of the best-known English poems of the1780's through the 1820's. Many features of verses by Wordsworth,Coleridge, Scott, Byron, Keats, and Percy Bysshe Shelley, as well as as-pects of works by Anna Letitia Barbauld, Mary Robinson, and JoannaBaillie,1 turn out (we now see) to be Gothic quite frequently and haunt-ingly, even in the sense that they replay quasi-archaic images and spectresused, not just in older "graveyard poetry," but throughout the short tradi-tion of neo-Gothic fiction and drama that was nominally launched in HoraceWalpole's The Castle of Otranto, which was given the pointed and quitemarketable subtitle A Gothic Story (making it the first book to use the la-bel) in 1765.2 At the same time, though, thanks equally to the work ofMichael Gamer, we are also aware that so-called "High Romantic" writing,particularly by Wordsworth and Coleridge, ironically situates itself as rela-tively "high cultural" poetry by distinguishing itself explicitly from the "low-ness" and threatening excess of Gothic novels and plays (even as Coleridgein particular wrote quasi-Gothic drama in Remorse). The Gothic, particu-larly the horror Gothic in its pre-"shilling shocker" mode in the 1790's, isclearly one target—called "frantic novels"—among "the gross and violentstimulants" against which Wordsworth sets off his and Coleridge's non-incendiary and "natural" poems suited in their contemplative moderationto "the discriminating powers of the mind," according to the Preface to theSecond Edition of Lyrical Ballads (Wordsworth 872-73). Then, too, it isMatthew Lewis' extremely Gothic The Monk (1796) that draws Coleridge'sindignation, along with his fascination. In his 1797 review of that novel forthe Critical Review, Coleridge prefigures several later statements of his on

283

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

284 JERROLD E. HOGLE

different levels of literary culture when he finds that Lewis' "Figures thatshock the imagination . . . betray a low and vulgar taste" especially for a"man of rank and fortune" as Lewis the MP claimed to be (Coleridge, ShorterWorks 59,62). Such lowness is demonstrated, Coleridge adds, by how muchthis entire "species of composition" is associated with "the multitude of itsmanufactures"; hence how "cheaply," he says, "we estimate romances ingeneral" (58). All such works for him are produced with far too "littleexpense of thought or imagination" like so much else to be found (he sneers)in the "garret of a circulating library" (58,63) where he, as a man of letters,would apparently not be caught dead.

I want to suggest here why it was that both of these inclinations arose atthe same time and what it means that at least some "Romantic" writing was -extensively based on the very Gothic spectres whose "manufacture" and"cheap" mobility some of the "high Romantics" strove forcefully to con-demn. After all, there is a reason why Gothic images and ghosts wouldseem "manufactured" to such writers beyond the fact that Gothic fictionswere being widely printed and sold in the "lower culture" marketplace.From the very start of the "Gothic" mode as soon as it began reusing thatmuch older label as a marketing device, there has been a very fake andmechanically reproduced quality to much of what the Gothic offers, whetherit be in novels, plays, paintings, or Gothic-revival architecture. Even inWalpole's neo-Gothic villa at Strawberry Hill, just as in The Castle ofOtrantoand his unproduced play The Mysterious Mother, the features are nearly allfaked or transmogrified remnants of older constructs and ideologies whosecultural foundations are now far in the past (see Ames). The ghosts thatappear in the first Gothic fictions are explicitly figures of artificial figures,not spectres of actual bodies. Walpole's Otranto is haunted several times,first by the enlarged fragments of an effigy in its crypt and then by thewalking image of a portrait in the Castle (Walpole, Castle 18, 23-24),revenants far more removed from their living substance than the shade theymost imitate, the Ghost of the Prince's father in Shakespeare's Hamlet.Even when the incestuous Countess in The Mysterious Mother remembersthe late-night encounter with her son some time ago, what she recalls is anapproach by the floating image of her husband, which itself recalls a visualmemory, rather than the body, of a man already known to her to be deadarid decimated earlier on the fateful day (Walpole, Constable's Edition 247-48). Sheer and fragmentary simulacra, seemingly struck off from a moldthat is already an imitation, are what haunt the neo-Gothic most of all, inpart because the very use of the word "Gothic" is a reworking of a veryinaccurate and much older misnomer. It is the refaking of a fake designa-tion that was used by Italian neo-classicists of the Renaissance to describethe "low-culture" qualities of much medieval architecture, as though thesehad been produced by Germanic "Goths'* who really had little to do with

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

THE GOTHIC GHOST AS COUNTERFEIT 285

such buildings, by supposed low-lifes who had sacked ancient Rome and sohad to be castigated to help launch a Greco-Roman revival (Frankl 259-60). No wonder Terry Castle can say so observantly that the Gothic fictionof the 1790's, especially that of Ann Radcliffe, is grounded (or really un-grounded) in the "spectralization" of every "other" outside the mind, thereference of every signifier or idea only to another signifier or spectralthought uprooted from solid groundings.

I would argue that it is this dimension of the Gothic which is supremelyintriguing and repellant to those we now call "Romantic" poets. It makespossible many of their images and verse-narratives and yet is greatly fearedenough to be as strongly repressed as it is often employed. A major reason,I believe, is how much cultural history and ideological conflict the Gothicfigure (or spectre) carries with it by the time some Romantics take it up. Ifevery major Gothic figure is the signifier of a signifier, that is because theneo-Gothic mode is governed by an assumption about how signs refer thatI find myself calling "the ghost of the counterfeit." Here I follow the sug-gestions of Jean Baudrillard in Symbolic Exchange and Death, where heoffers a useful history about the changing ways in which signs of all sorts inthe West have been regarded as making reference to signifieds or objects.When any later form (such as the Walpolean Gothic) looks back to theRenaissance (as Walpole looks back to Shakespeare), it recalls a post-medi-eval era where signifiers that were once thought to be "naturally" con-nected to pre-ordained social statuses had become more mobile, and thustransferable across people from different classes, at a time when middle-class merchants were acquiring aristocratic levels of money and thus aris-tocratic types of dress and education (BaudriUard 50-52). Renaissancesignifiers were thus viewed as "counterfeits," the way Hamlet views theportraits his mother has of both the murdered and usurping King of Den-mark (Shakespeare 3.4.54), in the sense that such signs both referred backnostalgically to older links binding a person to a social status and celebratedthe freedom such signifiers increasingly had to move from medieval refer-ents to newer ones that were adopting faked recastings of older markers ofcultural standing (BaudriUard 51). The neo-Gothic in the later eighteenthcentury, especially since it refakes what was already fake in the designation"Gothic," takes this Renaissance counterfeit as its primal reference pointmuch as the Renaissance counterfeit did with the older "obligatory sign."The Gothic is therefore the spectralization of what was already a mobile, ifnostalgic, spectre; hence the reference of Gothic ghosts to what is alreadyartificial and at least partially unauthentic—and thus the aptness of thelabel "the ghost of the counterfeit" This sense of signification, after all, isthe final, dying stage of meaning as primarily counterfeit from the Renais-sance on, and this stage begins the transition, for BaudriUard, from thesign as counterfeit to the sign as a simulacrum, the signifier viewed as a

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

286 JERROLD E. HOGLE

mechanically reproduced copy of an industrial mold, and more recentlyfrom the sign as simulacrum to the modem sign as simulation, an imagereferring only to other images and between images without any access to apurely natural form or original mold (Baudrillard 55-61).

To see the neo-Gothic as the "ghost of the counterfeit," moreover, is toconfront its internal conflict between the two kinds of "economic personal-ity" that Emma Clery has found in The Castle of Otranto: one based on"the traditional claims of landed property" and the other attached to "thenew claims of the private family" as it acquires, and models itself after,floating and reproducible signifiers now detached from, even while recall-ing, their older cultural foundations (Clery 77). The "Gothic revival" andthe resulting Gothic tradition after 1740 occur in a world of increasinglybourgeois "free market" enterprise that tries to look like a process sanc-tioned by much older imperatives yet also views the old icons as empty ofmeaning (Walpole's attitude towards all the Catholicism in The Castle ofOtranto) whenever they threaten to inhibit post-Renaissance acquisition inthe marketplace (very much what Walpole sought when he attached thelabel "Gothic" to his novel's Second Edition). Gothic nostalgia, from thestart, is based on already unauthentic signs of forms that have lost theirearlier meanings and on motives of capital acquisition that seek to repro-duce the simulacra of the past by more modem means to extend the bound-aries of the acquisitive self's persistent quest for upward mobility (seeHenderson). The more modem means, of course, are the ones that move, byBaudrillard's scheme, towards the sign viewed as the replicated simulacrumof the industrial age. They are signifiers from the past, like "Gothic" itself,that have become mechanically reproducible, very like the illustrations ofolder Gothic buildings in printed books that were often the primary modelsfor neo-Gothic architecture and scenery. Consequently, The Castle of Otrantowas as marketable as it was, especially with the Gothic label, because of itsreproducibility, as well as its playful reproduction of floating medievalsignifiers. Walpole left orders for its republication from his own printingpress, on which he also duplicated the tickets he issued for tours of Straw-berry Hill (Mowl 136,143-44,232-33; Walpole Journal 89). The neo-Gothicarouses Coleridge's fear of and contempt for its multiply manufacturedimitations of what were already imitations in part because the movement ofits ghost of the counterfeit towards the conditions of the reproduciblesimulacrum were as built into this hybrid mode as the tug-of-war betweeneconomic personalities and ideologies that the ghost of the counterfeit actedout in Gothic writing and elsewhere.

It is all of these betwixt-and-between qualities of the simulated counter-feit spectre that so-called Romantic poets take into their texts wheneverthey draw upon the neo-Gothic while apparently in the process of rejectingit The result is frequently an attempt to reground the ungrounded signifier

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

THE GOTHIC GHOST AS COUNTERFEIT 287

in some objective, non-counterfeit reference point accessible to and inter-pretable by the educated middle-class "man speaking to men," as though agenuinely "natural" language could be restored in poetry for a tasteful au-dience. At the same time, these very recast ghosts of counterfeits displaythe power of the simulacrum to slide from referent to referent and therebyshow how the self who employs them for self-definition is continuallyhaunted by the multiplicity of mechanical reproduction that "Poems of theImagination" (Wordsworth's phrase) claim to escape just as the industrialrevolution begins to accelerate.

A vivid case in point, since I can focus on only one example in this shortspace, is Coleridge's much-discussed "Frost at Midnight," particularly inits initial 1798 printing,3 though much of what I find there also applies tothe better-known final version of this poem. The key image through whichColeridge's autobiographical speaker connects his current awareness to hismemories is, of course, "that film, which flutter'd on the grate" arid "Stillflutters there" as an "unquiet thing" in the fireplace of a "cottage" sur-rounded by "Sea, hill, and wood" (11. 15-16, 4, 11). Coleridge provides afootnote to this image, even in 1798, intimating that "in all parts of thekingdom these films are called strangers, and supposed to portend the ar-rival of some absent friend" (Mellor 697, n. 2), and this allusion to circulat-ing folklore soon justifies the poem's recollection of "school-boy days" whenthe speaker "watched the stranger there" by gazing on the film in a differ-ent fireplace of another time (11.28,31). As Humphry House noted decadesago {Coleridge 79), to be sure, all these moments recall Book IV ('TheWinter Evening") in William Cowper's The Task (1785), where "have Iquiescent watched / The sooty films that play upon the ba r s . . . in the view/ Of superstition prophesying s t i l l . . . some stranger's near approach" (11.291-92,294-95; Cowper 194). But Coleridge gothicizes the image far morethan Cowper did, partly by turning the film into the ghostly "stranger,"partly by making it hauntingly "companionable" (1.19) as an "unquiet thing"vaguely echoing the past, and partly by allowing that fluttering shade, onthe basis of its use in folklore and poetry already circulating for many years,to float from being a film on a cottage grate in 1798 to seeming a "stranger"in an earlier schoolroom fireplace, to taking the form ofVstranger's face"appearing to enter the schoolroom from his distant "birthplace" at a mo-ment when the "school-boy" speaker may have been halfway between dream-ing and waking ("Frost at Midnight," 11. 45, 33). This figure partakes ofvirtually all the qualities we have noted in a Gothic ghost of the counterfeit.It harkens back into the past towards a seemingly natural reference-pointwith a definite social status, yet it circulates far beyond that old foundationas a floating signifier able to attach itself to different beings and objectsagain and again, all with the aid of texts that have recontextualized thefigure more than once (paralleling the history of the word "Gothic," as we

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

288 JERROUD E. HOGLE

have seen). At every point, the "stranger" refers to what is already a meresignifier at the earlier stage, even when the term seems attached to a facefrom the speaker's earliest youth and thus not really a stranger. The facethe poem finally arrives at is a sequence of shifts under the overall label of"stranger," a movement across a 'Townsman, or aunt, or sister" from his"birthplace" that does not decide among them (11.47,33), even as the word"stranger" becomes a spectre of a counterfeit (as well as "uncanny") bybeing the sign of someone who has come to seem unfamiliar (or re-coined)but is not ultimately strange to the speaker in the oldest location he remem-bers.

Hence Jan Plug can write of "the rhetoric" in "Frost at Midnight" that,even as "it attempts to literalize itself* (in a face, for example), "the literalfigure . . . never arrives" (Plug 33, 29), just as it never truly does in theWalpolean Gothic. The poem's later hope that the "Dear babe" in the presentcottage may have a less displaced life than the speaker has had (11. 49-70)—a hope given some encouragement by the poem's seeming capacity totrace the "stranger" back to a primordial person and "birthplace"—all ofthis is already and continually haunted by how the mechanically repro-duced "stranger" remains other than itself and always a ghost of what isspectral to begin with, already textualized, and at least partly unauthenticat every turn. The rising terror hinted early in the poem when the "unquiet"film reminds the speaker of just how "dim" the original foundations ofmemory have become (1.18) may indeed be turned into a sense of continu-ity bridging the separate stages of the growing self. But that is becauseColeridge's speaker is as blatantly honest as he is in the 1798 text when headmits that he can make the "stranger" a "companionable form" only be-cause he willfully imposes an assumption on his perceptions and allusions:that "the living spirit in our frame, / That loves not to behold a lifelessthing [in this case the ghost of a spectre of a counterfeit of the dead], /Transfuses into all it's own delights / It's own volition" (11. 21-24; Mellor697), forcefully projecting into the ghosting of ghosts (so that it will be adelight) a will, animation, and grounding that it lacks by itself and is un-speakably terrifying without. With such direct language, later muted intowhat "the idling Spirit . . . interprets" in the revised "Frost at Midnight"(Coleridge Portable 128; 11.20-21), the speaker echoes the Coleridge of theCondones ad Populum (1795) who deals with both his attraction to andfear of revolution and war—in one of his most ideologically conflicted pe-riods, as Kelvin Everest (69-145) and Nicholas Roe (111-123,145-56) haveshown especially well—by asserting the "necessity," if we are "to regulatethe feelings of the ardent," of "bottoming on fixed principles" lest we be"hurried away by names of which we have not sifted the meaning" as dis-courses multiply without our "adverting" to some "grand and comprehen-sive Truth" in a world of "infuriate declamation" that has allowed too many

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

THE GOTHIC GHOST AS COUNTERFEIT 289

(such as Robespierre) to "masquerade on the bloody stage of Revolution"(Mellor 684-85). Clearly Coleridge's attraction to and repulsion by the Gothicin 1797 is bound up with a wide and deep anxiety about a mechanicalreproducibility of uprooted words and figures that threatens to dissolve allwould-be senses of the self and the nation in an onslaught of signifying"strangers" that may never find any stability of ground or meaning, how-ever much they also keep calling us back to what seems an attractive pastwith a meaningful "bottom" "Frost at Midnight" works, anti-Gothicallyfor its author yet by initially Gothic means, to wrest that "strange"simulacrum of counterfeiting into an organic vision of growth from a seedthat can still be seen as manifested in the signs of it, if only by a retrospec-tive imposition of the will.

At some level, as he reveals even in his rage at the "cheaply reproduc-ible" Gothic of The Monk, Coleridge, like several of his contemporarieswho cannot be treated here, must begin writing where the neo-Gothic be-gins: with signifiers moving from being ghosts of counterfeits towards be-coming simulacra and with the terror of older groundings dropping awayin such signs even as their remnants stay hauntingly visible. Here is one ofthe lesser-known reasons why Coleridge proceeded to elaborate theoriesand uses of language that valiantly proposed several non-verbal anchoringsof words while they also found themselves pulled towards the bottomlesspotentials of an associationist philosophy of discourse (not to mention pla-giarism), as James McKusick, Jerome Christensen, and Jay Famess haveshown us most fully. The Gothic provided, to make a long story short, aninsistent display of the ghost of the counterfeit that prompted what we nowcall a "High Romantic" effort to re-counterfeit its groundlessness—and thusto claim to ground it naturally, mentally, spiritually, and tastefully (withinthe taste of a "higher culture")—in explicit opposition to the increasingmechanical reproduction of the simulacra that Gothic ghosts were startingto resemble and become. Coleridge, like Wordsworth and several others,after all, was in his own way caught between economic "personalities" likethe Walpolean Gothic and its capitalistically nostalgic counterfeits. He wasthe money-hating Unitarian pantisocrat, at least in the 1790's, who alsokept seeking the wherewithal to counterfeit his conflicted social vision in amiddle-class and very private life (Everest 69-96); hence his famous move-ment from Hartleyan materialism with its emphasis on sympathetic con-federations to Germanic idealism focussed on the very private resolution ofcontraries as a repetition of God in the self. The Gothic, I would contend,most especially in Matthew Lewis and The Monk, faced him with the fright-ening ghost of the counterfeit, the backward-looking yet acquisitively-out-reaching foundation of discourse, that underlay his own betwixt-and-be-tween condition in his culture and his means of articulating that conditiontowards a resolution. No wonder he and others felt driven both to embrace

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

290 JERROLD E. HOGLE

and reject it. No wonder the "secret ministry" of the "Frost" at the start ofColeridge's poem must be turned from its unmotivated, "Unhelped" ground-lessness and deathly coldness—threats that continue at the first sight of the"stranger" (the threats of the ghost of the counterfeit)—into the "silenticicles" of the poem's ending that seem to be avenues to the "moon" visiblethrough them 01. 1-2, 78-79). Only in that way, as in the 1798 version ofthat ending, can the haunting threat of ungrounded signification, not tomention the disappointment of pantisocratic hopes, be transmogrified intoa "novelty" than can "Suspend [the Dear babe's] little soul" and turn itaway from potential dejection and regression towards a renewed outreachof desire (11.82-83). At that point, perhaps, the child might have no need ofthe Gothic "fluttering" stranger on which his father depends for self-recon-struction and might instead incorporate that figure into himself "And stretchand flutter from thy mother's arms/As thou would'st fly for very eagerness"(11. 85-86).

University of Arizona

Notes

1. Examples of the neo-Gothic infusing the works of all these poets canbe found conveniently throughout the Mellor-Matlack volume. Therewe can see the Gothic in Wordsworth ("Elegiac Stanzas," pp. 602-03),Coleridge ("The Rime of the Ancyent Marinere, pp. 698-707), Scott(Marmion, pp. 678-79), Byron (Manfred, pp. 927-46), Keats ("TheEve of St. Agnes," pp. 1279-84), P.B. Shelley (The Cenci, pp. 1066-1101, nine years after his early Gothic novels Zastrozzi and St. Irvyne),Barbauld ("A Thought on Death," p. 186, not to mention her SirBertram: A Fragment), Robinson ("The Haunted Beach," pp. 323-24),and Baillie ("Thunder," p. 438, quite apart from the use of Gothic inher plays).

2. I have examined original First and Second Editions of Otranto at theHuntington Library in San Marino, California. Only the Second Edi-tion (1765) adds A Gothic Story to the novel's title page, and nearly allsubsequent editions follow suit.

3. I cite "Frost at Midnight" from the 1798 text in the Coleridge Fears inSolitude volume published that year, and I do so out of the Mellor-Matlack anthology, the first major college text to use this earlier andmore original version of the poem.

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14

THE GOTHIC GHOST AS COUNTERFEIT 291

Works Cited

Ames, Dianne S. "Strawberry Hill: Architecture of the 'As If." Eighteenth-Century Culture 8. Ed. Roseann Runte. Madison: U of Wisconsin P,1979. 351-63.

Baudrillard, Jean. Symbolic Exchange and Death. Trans. Iain HamiltonGrant. London: Sage, 1993.

Castle, Terry. "The Spectralization of the Other in The Mysteries ofUdolpho." The New Eighteenth Century: Theory, Politics, English Lit-erature. Ed. Felicity Nussbaum and Laura Brown. London: Methuen,1987. 231-53.

Christensen, Jerome. Coleridge's Blessed Machine of Language. Ithaca,NY: Cornell UP, 1981.

Clery; EJ. The Rise of Supernatural Fiction, 1762-1800. Cambridge: Cam-bridge UP, 1995.

Coleridge, Samuel Taylor. The Portable Coleridge. Ed. I.A. Richards. NewYork: Viking, 1961.

. Shorter Works and Fragments I. Ed. HJ. Jackson and J.R. de J.Jackson. The Collected Works of Samuel Taylor Coleridge. BollingenSeries 75. Princeton: Princeton UP, 1995. 11: 1.

Cowper, William. The Poems. Volume II: 1782-1785. Ed. John D. Bairdand Charles Ryskamp. Oxford: Clarendon, 1995.

Everest, Kelvin. Coleridge's Secret Ministry: The Context of the Conversa-tion Poems, 1795-1798. New York: Barnes and Noble, 1979.

Famess, Jay. "Strange Contraries in Familiar Coleridge." Essays in Litera-ture 13 (1986): 231-45.

Frankl, Paul. The Gothic: Literary Sources and Interpretations throughEight Centuries. Princeton: Princeton UP, 1960.

Gamer, Michael. "Confounding Present with Past:'Juvenile Pieces,' Lyri-cal Ballads, Gothic Politics." Poetica 39-40 (1993): 111- 38.

. "Marketing a Masculine Romance: Scott, Antiquarianism, andthe Gothic." Studies in Romanticism 32 (1993): 523-49.D

ownl

oade

d by

[U

nive

rsity

of

Tex

as L

ibra

ries

] at

14:

23 2

5 N

ovem

ber

2014

292 JERROLD E. HOGLE

Henderson, Andrea. "'An Embarrassing Subject': Use Value and ExchangeValue in Early Gothic Characterization." At the Limits of Romanticism:Essays in Cultural, Feminist, and Materialist Criticism. Ed. Mary A.Favret and Nicola J. Watson. Bloomington: Indiana UP, 1994. 225-45.

House, Humphry. Coleridge: The Clark Lectures. 1951-52. London: R. Hurt-Davis, 1953.

McKusick, James. Coleridge's Philosophy of Language. New Haven: YaleUP, 1986.

Mellor, Anne K., and Richard E. Matlack, ed. British Literature 1780-1830. Fort Worth: Harcourt Brace, 1996.

Mowl, Timothy. Horace Walpole: The Great Outsider. London: John Murray,1996.

Plug, Jan. "The Rhetoric of Secrecy: Figures of the Self in 'Frost at Mid-night'." Coleridge's Visionary Language: Essays in Honour of J.B. Beer.Ed. Tim Fulford and Morton D. Paley. Cambridge: D.S. Brewer, 1993.27-39.

Roe, Nicholas. Wordsworth and Coleridge: The Radical Years. Oxford:Clarendon, 1988.

Shakespeare, William. Hamlet, Arden Edition. Ed. Harold Jenkins. Lon-don: Methuen, 1982.

Walpole, Horace. The Castle of Otranto: A Gothic Story. Ed. W.S. Lewisand Joseph W. Reed, Jr. Oxford: Oxford UP, 1982.

. Constable's Edition of The Castle of Otrantro and The Mysteri-ous Mother. Ed. Montague Summers. London: Chiswick, 1925.

. Journal of the Printing Office at Strawberry Hill, now FirstPrinted from the MS. of Horace Walpole. Ed. Paget Toynbee. London:Chiswick, 1923.

Williams, Anne. Art of Darkness: A Poetics of Gothic. Chicago: U of Chi-cago P, 1995.

Wordsworth, William. The Poems, Volume I. Ed. John O. Hayden. London:Penguin, 1990.

Dow

nloa

ded

by [

Uni

vers

ity o

f T

exas

Lib

rari

es]

at 1

4:23

25

Nov

embe

r 20

14