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Contains all eleven books in one volume. XIX in series.


No publishing details. Possibly rebound. Half leather boards and leather spine with no title. Minor scores, abrasions and edge-wear on boards. Closed tears on spine. Page block and pages are tanned and marked. Light creases on some pages. Binding is exposed between a few pages but remains intact.

Edward Bulwer-Lytton

Text is clear throughout. PsychoBabel Books Professional seller. London, Frederick Warne. Ornate gilt title and decoration to spine with ornate blind embossed title block with gilt title to front board on brown cloth boards and coloured decorated endpapers. Gilt very bright and boards show practically no sign of wear. Internally very clean, tight and unmarked. A particularly attractive copy of the work. Goldring Books Professional seller. Catalogue: Fiction - English Victorian Novelists. Hardcover, with dust jacket.

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Marked and worn. A reading copy. Repaired binding. Chapter 1 Professional seller. Catalogue: Other. The son of Edward George Bulwer Lytton was himself a noted poet, often under the pseudonym Owen Meredith; he was 1st Earl of Lytton, a noted diplomat and politician who served as viceroy of India and ambassador at Paris Very good. Blank fourth leaf tipped to similar size heavy album leaf.

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Catalogue: Autographs. Spublisher, " Insgesamt ca.

Nachrichten aus dem Leben eines Lords - Einband: "Paperback. Celler Versandantiquariat Professional seller. New York, P. Boards are scuffed and aging, chipping at spine tips.

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Inside hinges are cracking. Pages lightly tanning, no markings, in text. Top Notch Books Professional seller. Brown H. Pages are in good condition, with light tanning in margins. Inside hinges are cracked. Pages lightly tanning, no markings in text. First 3 sheets are detatched and very chipped. Boston: Estes and Lauriat Knebworth Limited Edition. Good copy in original cloth with a paper label to the spine. With some wear and tear as with age. Remains well-preserved overall; bright and clean.

Physical description; nine volumes.

Contents; Vol. The Haunted and The Haunters or.

Subjects; Baron Edwaryd Bulwer Lytton Collected works. When he kisses her, the whole building falls asunder with a crash. Sir Bertrand is thrown into a trance and awakes in a gorgeous room, where he sees a beautiful lady who thanks him as her deliverer. At a banquet, nymphs place a laurel wreath on his head, but as the lady is about to address him the fragment breaks off.

The architecture of the castle, with its gallery, stair- case and subterranean vaults, closely resembles that of Walpole's Gothic structure. The " enormous sabres " too are familiar to readers of The Castle of Otranto. The gliding light, disquieting at the outset of the story but before the close familiar grown, is doomed to be the guide of many a distressed wanderer through the Gothic labyrinths of later romances.

Barbauld chose her properties with admirable discretion, but lacked the art to use them cunningly. A tolling bell, heard in the silence and darkness of a lonely moor, will quicken the beatings of the heart, but employed as a prompter's signal to herald the advance of a group of black statues is only absurd. After the grimly suggestive opening, the story gradually loses in power as it proceeds and the happy ending, which wings our thoughts back to the Sleeping Beauty of childhood, is wholly incongruous.

If the fragment had ended abruptly at the moment when the lady arises in her shroud from the coffin, Sir Bertrand would have been a more effective tale of terror. From the historical point of view Mrs. Barbauld's curious patchwork is full of interest. She seems to be reaching out wistfully towards the mysterious and the unknown. Genuinely 4 anxious to awaken a thrill of excitement in the breast of her reader, she is hesitating and uncertain as to the best way of winning her effect.

She is but a pioneer in the art of freezing the blood and it were idle to expect that she should rush boldly into a forest of horrors. Her opening scene works on that instinctive terror of the dark and the unseen, upon which Mrs. Radcliffe bases many of her most moving incidents. Among the Poetical Sketches of Blake, written between and , and published in , there appears an extraordinary poem written in blank verse, but divided into quatrains, and entitled Fair Elenor.

This juvenile production seems to indicate that Blake was familiar with Walpole's Gothic story. A bleeding head is abruptly thrust into her arms by an assassin in the employ of a villainous and anonymous " duke. Thus encouraged, the bloody head of her murdered husband describes its lurid past, and warns Elenor to beware of the duke's dark designs. Elenor wisely avoids the machinations of the villain, and brings an end to the poem, by breathing her last. Blake's story is faintly reminiscent of the popular legend of Anne Boleyn, who, with her bleeding head in her lap, is said to ride down the 1 Poetical Works, ed.

Sampson, p. The Gothic experiments of Dr. Nathan Drake, published in his Literary Hours , are extremely instructive as indicating the critical standpoint of the time. Drake, like Mrs. Barbauld and her brother, was deeply interested in the sources of the pleasure derived from tales of terror, and wrote his Gothic stories to confirm and illustrate the theories propounded in his essays. He discusses gravely and learnedly the kinds of fictitious horror that excite agreeable sensations, and then proceeds to arrange carefully calculated effects, designed to alarm his readers, but not to outrage their sense of decorum.

Drake's mind was as a house divided against itself : he was a moralist, emulating the " sage and serious Spenser " in his desire to exalt virtue and abase vice, he was a critic working out, with calm detachment, practical illustra- tions of the theories he had formulated, and he was a romantic enthusiast, imbued with a vague but genuine admiration for the wild superstitions of a bygone age. In the essay prefixed to Henry Fitzowen, a Gothic Tale, he distinguishes between the two species of Gothic superstition, the gloomy and the sportive, and addresses an ode to the two god- desses of Superstition one the offspring of Fear and ; Midnight, the other of Hesper and the Moon.

In his story the spectres of darkness are put to flight by a troop of aerial spirits. Drake knew the Gothic stories of Walpole, Mrs. Barbauld, Clara Reeve and Mrs. Rad- cliffe ; and traces of the influence of each may be found in his work. Henry Fitzowen loves Adeline de Mont- fort, but has a powerful and diabolical rival Walleran whose character combines the most dangerous qualities of Mrs. Radcliffe's villains with the magical gifts of a wizard.

Fitzowen, not long before the day fixed for his wedding, is led astray, while hunting, by an elusive stag, a spectral monk and "a " wandering fire," and arrives home in a thunderstorm to find his castle enveloped in total darkness and two of his servants stretched dead at his feet. He learns from his mother and sister, who are shut in a distant room, that Adeline has been carried off by armed ruffians.

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