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Four Gothic Novels: The Castle of Otranto; Vathek; The Monk; Frankenstein: "Castle of Otranto", "Vathek", "The Monk", "Frankenstein" (World's Classics)
 
 

Four Gothic Novels: The Castle of Otranto; Vathek; The Monk; Frankenstein: "Castle of Otranto", "Vathek", "The Monk", "Frankenstein" (World's Classics) (Paperback)

by Horace Walpole (Author), William Beckford (Author), Matthew Lewis (Author), Mary W. Shelley (Author) "THE following work was found in the library of an ancient catholic family in the north of England ..." (more)
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Four Gothic Novels: The Castle of Otranto; Vathek; The Monk; Frankenstein: "Castle of Otranto", "Vathek", "The Monk", "Frankenstein" (World's Classics) + The Mysteries of Udolpho: A Romance (Penguin Classics) + Northanger Abbey (Wordsworth Classics)
Price For All Three: £15.97

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Product details

  • Paperback: 624 pages
  • Publisher: Oxford Paperbacks (7 Jul 1994)
  • Language English
  • ISBN-10: 0192823310
  • ISBN-13: 978-0192823311
  • Product Dimensions: 19.2 x 13 x 3.6 cm
  • Average Customer Review: 4.0 out of 5 stars See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 68,855 in Books (See Bestsellers in Books)

    Popular in these categories:

    #1 in  Books > Horror > Authors > Classic Authors > Beckford, William
    #2 in  Books > Fiction > By Period > 16th to 18th Century > Walpole, Horace
    #4 in  Books > Horror > Authors > Classic Authors > Lewis, Matthew

Product Description

Review
"A very usable selection of the best examples of the genre."--Waalace Flanders, University of Pittsburgh
"My students are enjoying the 1818 version."--Nancy Noell, University of North Carolina at Charlotte


Product Description
Macabre and melodramtic, set in haunted castles or fantastic landscapes, Gothic tales became fashionable in the late eighteenth century with the publication of Horace Walpole's The Castle of Otranto (1764). Crammed with catastrophe, terror, and ghostly interventions, the novel was an immediate success, and influenced numerous followers. These include William Beckford's Vathek (1786), which alternates grotesque comedy with scenes of exotic magnificence in the story of the ruthless Caliph Vathek's journey to damation. The Monk (1796), by Matthew Lewis, is a violent tale of ambition, murder, and incest, set in the sinister monastery of the Capuchins in Madrid. Frankenstein (1818, 1831) is Mary Shelley's disturbing and perennially popular tale of young student who learns the secret of giving life to a creature made from human relics, with horrific consequences. This collection illustrates the range and the attraction of the Gothic novel. Extreme and sensational, each of the four printed here is also a powerful psychological story of isolation and monomania.

Inside This Book (Learn More)
First Sentence
THE following work was found in the library of an ancient catholic family in the north of England. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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Four Gothic Novels: The Castle of Otranto; Vathek; The Monk; Frankenstein: "Castle of Otranto", "Vathek", "The Monk", "Frankenstein" (World's Classics)
65% buy the item featured on this page:
Four Gothic Novels: The Castle of Otranto; Vathek; The Monk; Frankenstein: "Castle of Otranto", "Vathek", "The Monk", "Frankenstein" (World's Classics) 4.0 out of 5 stars (3)
£6.49
The Castle of Otranto: A Gothic Story (Oxford World's Classics)
14% buy
The Castle of Otranto: A Gothic Story (Oxford World's Classics) 2.8 out of 5 stars (6)
£3.49
The Mysteries of Udolpho: A Romance (Penguin Classics)
9% buy
The Mysteries of Udolpho: A Romance (Penguin Classics) 3.5 out of 5 stars (11)
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The Monk (Dover Thrift Editions)
6% buy
The Monk (Dover Thrift Editions) 4.5 out of 5 stars (6)
£3.50

 

Customer Reviews

3 Reviews
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Average Customer Review
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9 of 9 people found the following review helpful:
4.0 out of 5 stars A good selection, 2 Dec 2002
By B. Tovey (Oxford, UK) - See all my reviews
(REAL NAME)   
C18th Gothic novels are always worth a read for anyone interested in the macabre, the fantastic, or the downright gruesome, and this selection makes excellent reading. Having said that, if you're looking for a good critical edition this isn't the book for you - the critical apparatus is pretty minimal. There are better editions of Frankenstein out there, of course, but even if you already have one, this is worth it for the other three novels it contains.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars From the Sublime to the Ridiculous, 14 May 2009
By Binro The Heretic "mattieboyz" (Hillsborough, Sheffield) - See all my reviews
(TOP 1000 REVIEWER)      
The four stories contained in this volume are essential reading for students of 'The Gothic' and for anyone who wants a broad overview of archetypal Gothic texts from the genre's early days (Vathek) to it's zenith with the classic 'Frankenstein'.
The book is naturally weighty - Matthew Lewis' 'The Monk' takes up nearly half of it - and needs perservering with; Mary Shelley's seminal tale of man playing God is probably the most accessible, while 'The Castle of Otranto' seemed to me to be the hardest work.
Great price; the stories are each available separately on here for as much as this omnibus.
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2 of 5 people found the following review helpful:
3.0 out of 5 stars A Long Day's Journey into Horror, 31 Aug 2004
By Professor Donald Mitchell "Jesus Makes Me a P... (Boston) - See all my reviews
(TOP 10 REVIEWER)      
If you like horror, you owe it to yourself to read this book from the beginnings of the genre. You will enjoy seeing the themes in Frankenstein repeated in other horror novels that you will read in the future. The book and the movie have essentially nothing in common, so assume that you do not know the story yet if you have only seen the movie.

If you do not like horror, you probably won't like the book very much at all.

The story opens in the frozen Arctic wastes during an sea-going expedition to find a passage through the ice to the East. Aboard the ship after a strange meeting, Frankenstein tells his story. As a young man he wanted to make a splash in the sciences, and invented a way to create life. Having done so, he became estranged from his new being with significant consequences for Frankenstein and his creation. The two interact closely throughout the book, like twin brothers in one sense and like Creator and creation in another sense.

This book presents significant challenges to the reader. Like many books that relate to scientific or quasi-scientific topics from long ago, Frankenstein seems highly outmoded to the modern reader. In the era of psychological knowledge, the development of moods and character in the book will also seem primitive to many. A further drawback is that this novel takes a long time to develop each of its points (even after the eventual action is totally foreshadowed in unmistakeable terms), so patience is required as layer after layer of atmosphere and thought are applied to create a complex, composite picture. Finally, the structure of the novel is unusual, with layers of narration applied to layers of narration, creating a feeling of looking at never-ending mirror images.

So, you may ask, why should someone read Frankenstein? My personal feeling is that there are two timelessly rewarding aspects to the book that well reward the reader (despite the drawbacks described above). Either is sufficient to please you. First, the book raises wonderful ethical issues about the responsibilities of science and the scientist towards the results of scientific endeavors. These issues are as up-to-date now as they were when the book was written. Those who developed atomic weapons and biotechnology tools appear to have given little more thought to what comes next than Frankenstein did toward his creation. Second, the moods that are built up in the reader by the book are extremely vivid and powerful. The artistry of this book can serve as a guide for novelists for centuries to come, in showing how much the reader can be deeply engaged by the circumstances of the characters.

Why, then, did I grade the book at three stars instead of five? Few will fail to be annoyed by the scientific awkwardness of the story, and that is a definite drawback. Also, only the most dedicated students of style will avoid feeling like the book moves and develops its story too slowly. Less is more in novels. In this case, more is less.

I cannot help but comment that this book is perhaps the finest example of appearances being deceiving that exists in literature. The Hunchback of Notre Dame is a close competitor in this regard, but that fine work definite has to fall behind Frankenstein. In this book, beings of physical beauty act in inhumane, ugly ways. Beings of great ugliness act in beautiful ways. The same being may act in both ways, in different circumstances. Looks are deceiving, and our perceptions are flawed even when our attention is fixed. If the characters could have overcome this form of stalled thinking, the horror would have been averted. So the lesson is that the misperceptions we aim at others rebound (like a reflection in a mirror) right back onto us.

If you have not yet read Paradise Lost, Frankenstein is a good excuse to read that poem. The development of the story in Frankenstein assumes a knowledge of that story about Satan leading a rebellion against God and being dispossessed into Hell.

After you have had a chance to absorb and appreciate the nice issues this book raises, ask yourself where you in your life are acting without sufficiently considering the implications of your actions. Then, commence to examine those potential consequences. You should be able to create more good results in this way, and take more comfort in what you are doing. Both will be excellent rewards for your introspection.

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