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Disclaimer: All of the free movies found on this website are hosted on third-party servers that are freely available to watch/download for all internet users. Any legal issues regarding the free online movies on this website should be taken up with the actual file hosts themselves, as we are not affiliated with them. If you have any legal issues please contact the appropriate media file owners or host sites downloadall.in is absolutly legal and contain only links to other sites such as (userscloud, filescdn, uptobox, upfile, indishare and many others.), We do not host any films, media files on our server, so downloadall.in is not responsible for the accuracy, compliance, copyright, legality, decency. Gothic fiction, which is largely known by the subgenre of Gothic horror, is a genre or mode of literature and film that combines fiction and, death, and at times romance. Its origin is attributed to English author, with his 1764 novel, subtitled (in its second edition) 'A Gothic Story'.

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The effect of Gothic fiction feeds on a pleasing sort of terror, an extension of literary pleasures that were relatively new at the time of Walpole's novel. It originated in England in the second half of the 18th century and had much success in the 19th, as witnessed by ’s and the works of. Another well known novel in this genre, dating from the late, is ’s. The name Gothic refers to the (pseudo)-medieval buildings, emulating, in which many of these stories take place. This extreme form of romanticism was very popular in England and Germany. The English Gothic novel also led to new novel types such as the German Schauerroman and the French Georgia. The picturesque and evocative ruin is a common theme in Gothic literature.

This image shows the ruins of. The major part of the action in the is set in an abandoned and ruined abbey and the building itself served as a moral lesson, as well as a major setting for and mirror of the action in the novel.

The setting of the action in a ruined abbey, drawing on Burke’s aesthetic theory of the established the location as a place of terror and of safety. Burke argued the sublime was a source of awe or fear brought about by strong emotions such as terror or mental pain. On the other end of the spectrum was the beautiful, which were those things that brought pleasure and safety. Burke argued that the sublime was the more preferred to the two. Related to the concepts of the sublime and the beautiful is the idea of the, introduced by William Gilpin, which was thought to exist between the two other extremes.

The picturesque was that which continued elements of both the sublime and the beautiful and can be thought of as a natural or uncultivated beauty, such as a beautiful ruin or a partially overgrown building. In Romance of the Forest Adeline and the La Mottes live in constant fear of discovery by either the police or Adeline’s father and, at times, certain characters believe the castle to be haunted. On the other hand, the abbey also serves as a comfort, as it provides shelter and safety to the characters. Finally, it is picturesque, in that it was a ruin and serves as a combination of both the natural and the human.

By setting the story in the ruined abbey, Radcliffe was able to use architecture to draw on the aesthetic theories of the time and set the tone of the story in the minds of the reader. As with many of the buildings in Gothic novels, the abbey also has a series of tunnels. These tunnels serve as both a hiding place for the characters and as a place of secrets. This was mirrored later in the novel with Adeline hiding from the Marquis de Montalt and the secrets of the Marquis, which would eventually lead to his downfall and Adeline's salvation. Architecture served as an additional character in many Gothic novels, bringing with it associations to the past and to secrets and, in many cases, moving the action along and foretelling future events in the story. The female Gothic and the supernatural explained Characterized by its castles, dungeons, gloomy forests and hidden passages, from the Gothic novel genre emerged the Female Gothic.

Guided by the works of authors such as, and, the Female Gothic permitted the introduction of feminine societal and sexual desires into Gothic texts. It has been said that medieval society, on which some Gothic texts are based, granted women writers the opportunity to attribute 'features of the mode of Gothicism as the result of the suppression of female sexuality, or else as a challenge to the gender hierarchy and values of a male-dominated culture'. Significantly, with the development of the Female Gothic came the literary technique of explaining the supernatural. The Supernatural Explained – as this technique was aptly named – is a recurring plot device in Radcliffe’s. The novel, published in 1791, is among Radcliffe’s earlier works.

The novel sets up suspense for horrific events, which all have natural explanations. An eighteenth-century response to the novel from the reads: 'We must hear no more of enchanted forests and castles, giants, dragons, walls of fire and other ‘monstrous and prodigious things;’ – yet still forests and castles remain, and it is still within the province of fiction, without overstepping the limits of nature, to make use of them for the purpose of creating surprise.' Radcliffe’s use of Supernatural Explained is characteristic of the Gothic author. The female protagonists pursued in these texts are often caught in an unfamiliar and terrifying landscape, delivering higher degrees of horror. The end result, however, is the explained supernatural, rather than terrors familiar to women such as rape or incest, or the expected ghosts or haunted castles. In Radcliffe’s The Romance of the Forest, one may follow the female protagonist, Adeline, through the forest, hidden passages and abbey dungeons, 'without exclaiming, ‘How these antique towers and vacant courts/ chill the suspended soul, till expectation wears the cast of fear!'

The decision of Female Gothic writers to supplement true supernatural horrors with explained cause and effect transforms romantic plots and Gothic tales into common life and writing. Rather than establish the romantic plot in impossible events Radcliffe strays away from writing 'merely fables, which no stretch of fancy could realize.' English scholar Chloe Chard’s published introduction to The Romance of the Forest refers to the 'promised effect of terror'. The outcome, however, 'may prove less horrific than the novel has originally suggested'.

Radcliffe sets up suspense throughout the course of the novel, insinuating a supernatural or superstitious cause to the mysterious and horrific occurrences of the plot. However, the suspense is relieved with the Supernatural Explained. For example, Adeline is reading the illegible manuscripts she found in her bedchamber’s secret passage in the abbey when she hears a chilling noise from beyond her doorway. She goes to sleep unsettled, only to awake and learn that what she assumed to be haunting spirits were actually the domestic voices of the servant, Peter. La Motte, her caretaker in the abbey, recognizes the heights to which her imagination reached after reading the autobiographical manuscripts of a past murdered man in the abbey. '‘I do not wonder, that after you had suffered its terrors to impress your imagination, you fancied you saw specters, and heard wondrous noises.’ La Motte said.

‘God bless you! Ma’amselle,’ said Peter. ‘I’m sorry I frightened you so last night.’ ‘Frightened me,’ said Adeline; ‘how was you concerned in that?’ He then informed her, that when he thought Monsieur and Madame La Motte were asleep, he had stolen to her chamber door. That he had called several times as loudly as he dared, but receiving no answer, he believed she was asleep. This account of the voice she had heard relieved Adeline’s spirits; she was even surprised she did not know it, till remembering the perturbation of her mind for some time preceding, this surprise disappeared.' While Adeline is alone in her characteristically Gothic chamber, she detects something supernatural, or mysterious about the setting. However, the 'actual sounds that she hears are accounted for by the efforts of the faithful servant to communicate with her, there is still a hint of supernatural in her dream, inspired, it would be seem, by the fact that she is on the spot of her father’s murder and that his unburied skeleton is concealed in the room next hers'.

The supernatural here is indefinitely explained, but what remains is the 'tendency in the human mind to reach out beyond the tangible and the visible; and it is in depicting this mood of vague and half-defined emotion that Mrs. Radcliffe excels'. Transmuting the Gothic novel into a comprehensible tale for the imaginative eighteenth-century woman was useful for the Female Gothic writers of the time.

Novels were an experience for these women who had no outlet for a thrilling excursion. Sexual encounters and superstitious fantasies were idle elements of the imagination. However, the use of Female Gothic and Supernatural Explained, are a 'good example of how the formula Gothic novel changes to suit the interests and needs of its current readers'. In many respects, the novel’s 'current reader' of the time was the woman who, even as she enjoyed such novels, would feel that she had to 'lay down her book with affected indifference, or momentary shame,' according to, author of. The Gothic novel shaped its form for female readers to 'turn to Gothic romances to find support for their own mixed feelings'.

Following the characteristic Gothic -like plot sequence, the Female Gothic allowed its readers to graduate from 'adolescence to maturity,' in the face of the realized impossibilities of the supernatural. As female protagonists in novels like Adeline in The Romance of the Forest learn that their superstitious fantasies and terrors are replaced with natural cause and reasonable doubt, the reader may understand the true position of the heroine in the novel: 'The heroine possesses the romantic temperament that perceives strangeness where others see none. Her sensibility, therefore, prevents her from knowing that her true plight is her condition, the disability of being female.'

Another text in which the heroine of the Gothic novel encounters the Supernatural Explained is The Castle of Wolfenbach (1793) by Gothic author Eliza Parsons. This Female Gothic text by Parsons is listed as one of Catherine Morland's Gothic texts in Austen's Northanger Abbey. The heroine in The Castle of Wolfenbach, Matilda, seeks refuge after overhearing a conversation in which her Uncle Weimar speaks of plans to rape her. Matilda finds asylum in the Castle of Wolfenbach: a castle inhabited by old married caretakers who claim that the second floor is haunted. Matilda, being the courageous heroine, decides to explore the mysterious wing of the Castle.

Bertha, wife of Joseph, (caretakers of the castle) tells Matilda of the 'other wing': 'Now for goodness sake, dear madam, don't go no farther, for as sure as you are alive, here the ghosts live, for Joseph says he often sees lights and hears strange things.' However, as Matilda ventures through the castle, she finds that the wing is not haunted by ghosts and rattling chains, but rather, the Countess of Wolfenbach.

The supernatural is explained, in this case, ten pages into the novel, and the natural cause of the superstitious noises is a Countess in distress. Characteristic of the Female Gothic, the natural cause of terror is not the supernatural, but rather female disability and societal horrors: rape, incest and the threatening control of the male antagonist.

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