When the passionate and gothic traditions satisfy

Jane Eyre

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From the late-eighteenth to the early-nineteenth century, known as the Romantic period, there existed a shift in some ethnical and imaginative elements that leaned to a resurrection of the Medieval. As well as a rebirth of the Gothic through new adaptations in England, writers specifically began to delight in incorporating aspects of the Medieval aesthetic to their works, thus beginning a mergence with the two models. The symbolism associated with the Medieval was noticed to be so distinct and carried a particular essence that its make use of, whether motivated politically, socially, architecturally, culturally, or spiritually, made for a unique and exceptional collection of literary works.

In order to better understand the relationship between the Passionate and the Medieval, it is first necessary to understand the basics as well as the complexes of defining both these terms. Inside the simplest of terms, the Oxford Friend to English Literature describes Romanticism since “the success of the beliefs of spontaneity, visionary inspiration, wonder, and emotional self-expression over the traditional standards of balance, order, restraint, portion, and objectivity[it] derives via ‘romance’, the literary form in which wishes and dreams prevail above everyday realities” (Oxford Companion to British Literature). This sort of prominent writers of the Romantic period consist of William Wordsworth, William Blake, John Keats, and Percy Bysshe Shelley.

To attempt to define the Gothic artistic, one need to first define what is truly Gothic. The Oxford Associate to The english language Literature defines the Gothic literary custom as “a distinct modern development when the characteristic motif is the stranglehold of the past upon the current, or the encroachment of the ‘dark’ ages of oppression after the ‘enlightened’ modern eraembodied typically in enclosed and haunted adjustments such as castle, crypts, convents, or depressing mansions, in images of ruin and decay, and in episodes of imprisonment, rudeness, and persecution” (Oxford Partner to English language Literature). It defines the term Gothic itself to suggest ‘medieval, and by implication barbaric” (The Oxford Companion to English Literature). The Gothic revival involves that which reminisces or will remind of the previous, socially, broadly, architecturally, and spiritually. This simultaneously brought about a clashing of the aged with the new in the creation of contemporary performs, combining the historic with all the modern, for any new ‘vintage’. Concepts, ideas, fears, emotions, opinions and morals that existed in the more middle ages Gothic age ranges still persisted in the Loving period, therefore writers of the new gothic could take these traditional matters and find a different way to retell them to the readers. Ideals frequently associated with the Gothic revival are medeivalism, barbarism, and supernaturalism. Instituted typically with the use of the supernatural, or that which looked supernatural although would afterwards be found in my opinion natural, everyone was reminded with their God-fearing and superstitious emotions, and of the presence of the ‘other’. As David Hume puts it, the Medieval novel “can be seen as you symptom of a widespread move away from neoclassical ideals of order and reason, toward romantic perception in feelings and imagination” (Hume 282). Some Medieval works, which can be to be reviewed further, include Samuel Colderidge’s “Christabel”, Steve Keats’ “The Eve of St Agnes”, Charlotte Bronte’s Jane Eyre, and Horace Walpole’s The Castle of Otranto. Walpole’s The Castle of Otranto, is considered to be the first Gothic novel, pioneering the way to get other modern day additions to the Romantic genre. Walpole him self, a staunch enthusiast from the Gothic rebirth, even experienced his own medieval-style castle constructed, following a inspiration with the Gothic structure.

The relationship between the Loving period as well as the Gothic revival can be discussed through the ways that one motivated or interacted with the different. However , much difficulty arises in trying to distinctly separate the cable connections between the Gothic influence within the Romantic so that as Michael Gamer explains “what we have, in that case, are borrowings that may not be explained solely in terms of impact, whether passive or lively, individual or perhaps culturalthe connection of Medieval to Intimate ideology can be itself a Gothic a single, since Gothic’s presence in Romantic articles are characterized by ‘multiple interpretations[of] multiple modes of consumption and production, [of] dangerous consumptions and excessive productivity, and [of] financial systems of meaning” (Gamer 28). Everything is definitely subject to presentation. Though it is difficult to distinguish exactly where exactly the affect is, it can be still possible to find the connections and assess the marriage that way. The presence of the Medieval, whether new, spiritual, cultural, social, or political is usually unmistakable within some loving works, it is therefore an explorable subject.

The Loving writers wished to recognize development and life and splendor, strike up thoughts with readers, make them feel something new or something old. This didn’t automatically matter given that they were activated to think or to respond or to react. David Hume discusses their relationship by suggesting that “gothic and romantic publishing spring as well from a recognition in the insufficiency of reason or perhaps religious faith to explain and help to make comprehensible the complexities of life” (Hume 290). People are always looking for reasons and explanations to life’s concerns and challenges, and that which can be inexplicable arouses feelings of resentment and anger. In having the Medieval influence their very own Romantic composing, authors were able to provide viewers with the chance of relief from these kinds of feelings. Hume further notes that while “Romantic writing reconciles the discordant elements it faces, fixing their evident contradictions imaginatively in the creation of a bigger orderGothic composing, the product of serious fancy, has no such answers and can only leave the ‘opposites’ contradictory and paradoxical. In its highest forms romantic publishing claims the existence of higher answers where Medieval can find just unresolvable meaningful and mental ambiguity” (Hume 290). Selection way to evoke religious presence within a reader compared to a supernatural entity, hauntingly invisible but so fearfully real. Just as with religion, a single cannot visibly see it, nevertheless presence is usually felt consistently.

With regards to the reception in the Gothic visual within the Passionate period, attitudes towards the design varied. Several thought that to be too into the earlier, reminiscent of the barbaric and dark times during the history. This represented decay and destruction, ignorance, cruelty and persecution. Some presumed looking backside didn’t enable forward activity. For others, the Gothic was “a vehicle for the transmission of the forward-looking mindset through the unenlightened middle ages” (Dugget 59). Some accepted these images of corrosion and damage and utilized them to seeing a fresh and lighter future, it had been map showing how far world had arrive. In continue, one must remember where they came from to know what lengths they’ve come. Either way it had been a reminder from the medieval plus more archaic times in English record, but if that prompt provided 1 with a confident outlook for future years, or with profoundly unfavorable memories in the past relied upon the. Michael Gamer acknowledges that “it is gothic’s easy dispersal and ability to never stay within prose romance- its behavior of collapsing disciplinary and social groups, however gendered or polarized- that constituted one of the primary hazards to the critics who ruined it” (Gamer 4). In regards to Walpole’s reception in particular, Elizabeth. J. Clery notes that Walpole’s “contemporaries [viewed] the Gothic age [as] a long period of time of barbarism, superstition, and anarchy [that] dimly stretched from the 6th century ADto the Renaissance and the rebirth of classical learning[and that] ‘Gothic’ likewise signified anything obsolete, out-dated, or outlandish” (Clery 21). People planned to read new material as well as the idea that Walpole had written a Gothic story begged the question of it is modernity. People have always recently had an obsession with ‘newness’ and originality, and the assumptions and associations that accompanied the definition of “Gothic”, specially when used in his title The Castle of Otranto: A Gothic Story, generated a sensation of aversion towards idea of Gothic literature. In the event one can imagine “only if the fiction is valid to life can it become the car of valuable instruction or perhaps moral improvement”, than several wondered at what is the benefit in reading a tale where the meaning is learned with the use of great interference coming from some unknown business (Clery 22).

Because the medieval Gothic is connected with a period of anarchy, the revival triggered political matter and disapproval because of the fear of some form of politics dissent. Coupled with the then-current political concerns in England, “Gothic fiction and drama were perceived as dangers to personal and cultural order” (Gamer 31). non-etheless, though this discouraged a lot of from acknowledging it, its cultural, system, and spiritual influences had been easier to receive.

Samuel T. Coleridge’s “Christabel” was written in two parts, written in 1797 and 1800, respectively. The poem is a great exemplar from the Gothic’s effect of the Loving. In the poem, Christabel is actually a maiden wandering through the timber in the middle of the night when ever she comes upon Geraldine laying tangled up on the ground, professing to have been a patient of kidnapping. Christabel brings Geraldine with her father Sir Leoline’s fort to give her sanctuary, whereupon they discover Geraldine to be the daughter of Leoline’s outdated enemy Roland. When Christabel begins to suspect Geraldine of trickery and deceit, just before she is in a position to alert her father, your woman finds their self under a cause of Geraldine’s that won’t allow her to see her dad. Eventually Christabel breaks totally free of the cause, but upon informing her father, detects he will not believe her, accepting Geraldine and closing out Christabel.

The poem employs traditional Gothic elements, via setting to psychology. The speaker records that “Tis middle of night by castle clock” and that “The night is definitely chilly, but not dark/ The thin grey cloud can be spread in high, / it addresses but not skins the heavens. / The moon is definitely behind, including the full” (Colerdige one particular, 14-18). The particular beginning of the composition occurs in the dark woods, creating an eerily haunting placing where the audience can predict some future event. Celebrate an ambiance of tension as Christabel is portrayed wandering through foggy mists and shadowy moonlight. The strain builds since the reader is waiting in expectation, expecting anything as the narrator requests “Is that the wind that moaneth bleak? /There is usually not wind enough in the airHush conquering heart of Christabel! / Jesu, Helen, shield her well! inches (Coleridge 45-57). This relatively unearthly existence invokes the fear of the supernatural, questioning what type of existence can be near. After the initial breakthrough of Geraldine by the tree, it appears the original source was a victimized maiden, but since the poem advances Geraldine’s own corporeal reality is asked and she becomes the cause of the apparently supernatural activity.

The reader becomes even more suspect of Geraldine while she begs Christabel to “Have shame on my sore distress/ My spouse and i scarce can speak pertaining to weariness: /Stretch forth thy hand, and have no fear! ” (Coleridge 73-76). Since Geraldine recounts the peculiar details of her kidnapping to Christabel a thing comes off awry, although what exactly that is certainly, is difficult to tell. Geraldine appears suspicious and contradictory in her reports, and though it seems it could be a result of her problems, it generates a feeling of mistrust in the target audience. Something is off about over and her story. The supernatural can be again recommended when the two women get to sleep together and Geraldine nearly gives off the appearance of being a seductress of types as she settles in to lay close to Christabel and tells her “In the touch of this bosom presently there worketh a spell, as well as Which is god of they will utterance, Christabel! / Thou knowest to-night, and wilt know to-morrow, / This mark of my pity, this seal off of my personal sorrow” (Coleridge 257-260). Presently there already seemed some sort of sorcery surrounding Geraldine, therefore hearing her mention it to Christabel arouses more fear in her intentions with the faithful maiden. The supernatural element is constantly described or recommended, but never flat out exposed. When Christabel awakes and “Gathers himself from out her trance”, and later turns into aware of Geraldine’s serpentine traits as “A snake’s little eye blinks dull and shy/ Plus the lady’s eyes they shrunk in her head/ Every shrunk up to a serpent’s eye/ And with somewhat of malice, and even more of dread/ At Christabel she appeared askance! ” (Coleridge 573-577). Even the approach the Leoline seems so readily enraptured by Geraldine suggests her to be with the supernatural, a siren of some sort. The notion that she could be unnatural, but the reality it is hardly ever stated in the poem is even more frightening. It would be much less frightening to be aware of for sure in the event that she is a great evil unexplainable entity, or simply appears as a result. Such a haunted establishing, the unnatural Geraldine with her deceit, Christabel’s imprisonment under the spell, and the fortress are all standard characteristics from the Gothic artistic.

Employing similar qualities of the Medieval aesthetic as “Christabel”, John Keats’ “The Eve of St Agnes” is a relationship story of two small lovers. The poem uses strong Medieval imagery to develop an atmosphere for the poem. Madeline is a small maiden who may be in love with Porphyro, the child of her family’s opponent. Before going to pickup bed one evening, Madeline chooses try a routine on Saint Agnes’ Eve whereby a new virgin’s mate will come with her while she actually is sleeping. That same night, Porphyro, with the reluctant accompanied by a Angela (at her very own perilous cost), sneaks in to Madeline’s space in order to view her splendor as the lady sleeps. The moment Porphyro awakes Madeline coming from her dream, she turn into confused in the sudden difference in Porphyro between Madeline’s dream version of him and him actually. He then talks her to run away with him, and they never see her family once again.

Once again there is the presence of superstition and of seen the supernatural with the Saint Agnes’ Event tradition plus the knights visiting in dreams. With substantial hopes of receiving a go to from their mate, a virgin mobile will go to bed with out supper, always be naked, and lie encounter up towards heaven. Madeline, as well as the various other girls readily follow this kind of superstition considering they are so anxious and eager for interaction with their lovers. The atmosphere is also set up pertaining to the Medieval aesthetic while the narrator describes “The sculptur’d useless, on each aspect, seem to freeze out, / Emprison’d in dark, purgatorial bed rails: /To believe how they might ache in icy bonnets and mails” (Keats 14-18). Gloom, destroy, and rot are displayed by the worn down statues, frozen in time make, blackened and cursed. This kind of draws after the medieval as a picture the old. As with just before, the presence of the supernatural can be questionable, not really absolute nevertheless enough to ponder is actually existence. Madeline does conclude dreaming of Porphyro, so it is seriously superstition or was generally there really a lot of intervention for St Agnes? It is even questionable with Angela, whom reluctantly enables Porphyro into Madeline’s compartments, against her better conclusions and wants. She remorse having allowed him in, and in the final of the poem she ultimately ends up dead. Is possibly some supernatural treatment punishing her for allowing for a guy into a bare virgin’s area whilst your woman dreams? It truly is enough to beg problem of the chance of the great. The narrator even implies a unnatural element to Madeline and Porphyro themselves as “They glide, like phantoms, in the wide corridor, / Just like phantoms, to the iron porch, they glide” where the repeated use of ‘phantoms’ suggests they really have passed into the great, leaving the natural world entirely (Keats 361-362). You possibly can even believe they have actually become phantoms, unearthly pets, suggesting some psychological repercussions of their pre-marital encounter. Most likely Madeline offers run off in her mind with the dream version of Porphyro, or simply Porphyro and she possess passed in to an otherworldly existence. Such psychological features, questioning state of mind are also area of the Gothic’s visual.

Charlotte Bronte’s Anne Eyre, recognized associated with like a feminist text because of its timing and affect in that area, has a storyline which revolves around the possibility of the existence of the supernatural. When Anne Eyre can be hired as the new governess for Edward cullen Rochester’s ward she starts falling fond of him, and strange occurrences occur in your house. Since the story is advised from Jane’s point of view, you is only aware about what the girl knows. Several times in the evening Jane awakes to the feeling that an individual is in her room, observing her, the lady even catches a peek at one point nevertheless is uncertain of who also or what she experienced. In certain parts of the fortress, Jane hears “the last sound We expected to notice in therefore still an area, a laugh, minted my hearing. It was a curious laugh, distinct, formal, mirthless. I stopped: requirements ceased, just for an instant, this began again, louder: to get at first, though distinct, it absolutely was very low. It passed away in a clamorous peal that seemed to wake up an indicate in every unhappy chamber” (Bronte 158). The eerie chuckle follows Jane throughout the house, at times appearing by moments in order to seems wrong and suspicious. The reader becomes aware of several unsettling feeling associated with their presence. Anne eventually believes this as the the laughter of Style Poole, a women she is convinced “possessed which has a devil” (Bronte 221). The moment Jane feels it, you wonders at it also. Is she held by several unearthly creature? The story continues with thoughts of tension and fear every time Jane enters specific parts of the home. Things become even more frightening when Rochester’s room is lit burning down, and Jane believes it to be the function of Sophistication. The ‘demon’ now has proved to be some sort of evil, plus the rest of the new leaves someone in dread over what demonic criminal offenses will be next. The reader shares Jane’s fear and stress, not knowing for certain who or what is the main cause of the physical violence. Even more so with the possibility a worse strike is in the near future.

Further more in the story, a visitor is attacked in the night, stabbed and near death. Jane obediently assists as Rochester requests, and it becomes obvious that Rochester doesn’t locate such violent occurrences shady, suggesting this individual has anything to hide. Mistrust of him grows until it finally turns out the culprit is certainly not Grace Poole, but Rochester’s own demented wife, a hidden secret in the world. Having gone mad years previously, Rochester made a decision to hide her from the community, and employed Grace Poole to look after her within the fortress. The impression of a unnatural element is usually shattered, nevertheless the fear continues to be with this individual who is thus dangerous and violent. As a result, this is one of many moments where the seemingly great turns out to be the natural.

Having been the first accurate Gothic new, Horace Walpole’s The Fort of Otranto encompasses a great deal of what is regarded as being the Gothic’s aesthetic, in the imagery, towards the architecture, to the psychological, to the supernatural, for the terror. Being a Gothic book it “is part of the fresh ‘literature of process’ which in turn reflects their creator’s mind” and this “attempts to rouse the reader’s imaginative sympathies” (Hume 282). Manfred is owner of the castle and the master of the land and his boy is wiped out on his big day when a huge helmet comes on him from the heavens. In an attempt to maintain control over his land Manfred tries to divorce his faithful wife Hippolita for his late son’s fiancee Isabella. Isabella flees to a house of worship for safety from the odieux idea of marrying her dead fiances hitched father, and receives the aide of any prisoner named Theodore. The Castle of Otranto begins with the ominous prophecy “That the fort and lordship of Otranto should complete from the present family, when the real owner should be expanded too large to inhabit it” (Walpole 17). Straight removed from the beginning the novel seems prepared to continue in a predetermined state of events, although they are yet unknown. The reader is hinted at the path the novel will take. The curiosity surrounding the outrageous prophecy brings an element of mystery to the book. What does the prediction mean? Where did it originate from? Will it come true? Does it are derived from divine or perhaps supernatural input? Mystery and uncertainty create feelings of apprehension and fear, all of these aid towards the construction in the Gothic aesthetic. That which is definitely unknown encourages wonder and begs for answers. These questions have the reader wondering throughout the course of the new.

The atmosphere and setting intended for the new also encompass elements that form a Gothic cosmetic. The Medieval is “embodied typically in enclosed and haunted adjustments such as fortress, crypts, [and] convents” (Oxford Companion to English Literature). Titled following your location, the Castle of Otranto is among the most blatant utilization of the Gothic for the presence of the castle. When the townspeople are attempting to find out what happened to Manfred’s son, they set up Theodore “has stolen the helmet by good Alfonso’s tomb, and dashed the brains of the young knight in shining armor with it” thus attracting the crypt. The place of sanctuary intended for the personas on the run, obviously, becomes the church, Isabella and Theodore both use it to escape the wrath of Manfred. All structural factors that represent the Medieval aesthetic are being used by Walpole in Otranto. Since his was the landmark work for the genre, it really is evident that his types of these 3 are what later writers drew motivation from.

Manfred him self encompasses the archaic thoughts of the Medieval since this individual ruled the land while using hand of tyranny, managing everything, maintaining power to get himself as well as for his legacy. Alfred Longuiel’s definition can be applied perfectly to Manfred because “the qualificative ‘Gothic’ is employed as a certain and known synonym for barbarous. Generally this usage is in reference to ignorance, cruelty, or savageness, qualities associated with the inherited Renaissance view of the middle ages” (455). Manfred is a inappropriate and selfish ruler, worried only with preserving his family’s brand upon the throne. He cares not what the expense of power is or the outcomes of his actions individuals. He is the agreement of philistine rule. It is because of his tyrannic ways that the story unfolds as it will, as the outcomes of all his actions finally catching up. Manfred had even imprinted Isabella’s “mind with horror, from his causeless rectitud to these kinds of amiable beaufitul princesses as Hippolita and Matilda” (Walpole 19). Terror is a frequent element of the Gothic visual, used as an attempt to invoke honnête. Manfred wrongfully imprison’s Theodore and paragraphs him to death, blaming him to get the mashing death of his child. Such imprisonment is another prevalent element of the Gothic. Such “terror dependent upon suspense or dread may be the modus operandi of the novels of Walpole[it] holds the reader’s interest through hate of a series of terrible possibilities” (Hume 285).

The Gothic images of ruin and corrosion are described through the break of Manfred’s power. His years of avarice and tyrannical rule have got returned to get justice. The image of corrosion would not become complete nevertheless if it was only Manfred himself who have suffers. Following the loss of his only man heir, Manfred goes on to by accident kill his own little girl, mistaking her for Isabella and stabbing her within a fit of jealous trend. This is the last piece of the collapse and after Manfred offers lost anything, power is restored for the rightful person, Theodore. The prophecy got stated that after “the real owner must be grown to large” intended for the lordship, the new leader would gain possession. However, what is strange lies in that it can be when Manfred has nothing at all left and lost his children that he is growing “too large” (Walpole 17).

Walpole’s Otranto “aimed at a medieval ambiance by means of old background, -lonely castles, haunted towers, undercover passages, knights in battle in armor, magic. But for the browsing public the outstanding characteristic of these stories appears to have been, not really their medieval setting, but their supernatural incident” (Longeil 458). Walpole’s utilization of the unnatural is principally by means of the usually reappearing significant parts of armour. His son is crushed by a giant helmet. Among the servants promises he observed a giant ft . in the photo gallery chamber, when another, Bianca, sees a giant hand appear in another part of the castle. These types of gigantic pieces of body and armor have got caused fear and unrest among the castle’s household. Multiple occupants have experienced it, nevertheless no one can identify it. The mystery of computer remains one of the primary mysteries with the novel.

Other occasions also recommend the supernatural, earlier Bianca claims to listen to voices inside the hallways and determines the castle being haunted. At one point the “plumes on the enchanted helmet, which still continued to be at the opposite end of the court docket, were tempestuously agitated, and nodded thrice, as if bowed by a lot of invisible wearer” (Walpole 53). Manfred’s anxiety about Theodore arises out of his uncanny similarities to the hanging family portrait of Alfonso in the gallery, and Manfred himself actually initially had taken Theodore for the specter. Although it is found out later that he is the truth is a rejeton of Alfonso, there is even now an element of the supernatural carried within Theodore for the entirety of the novel. 1 wonder’s just how it happened being that even though he had not a clue as to who have his relations are, by simply some job of fate he deals with to make his way to his rightful throne. The supernatural works together destiny in placing him there.

David Hume notes which the “prime characteristic of the Gothic novelis it is attempt to involve the reader in special circumstances” (Hume 286). It handles a dazzling new literary form, taking Romantic period ideals and themes and incorporating the Gothic cosmetic for a greatly unique style of literature. The gothic resurrection explored older elements in a new way. Revolving mostly around the creation of a glumness, dark, unnatural, and medieval atmosphere, the Gothic visual worked the way in to the Romantic period. Its classical yet somewhat archaic components proved to be demanding in its general reception. What did it really make people think? Was the medieval a concept to become left behind, together with the barbaric and tyrannical thoughts associated with that, or was it a concept to be kept in mind and drawn from, a reminder of forward measures. With unique associations socially, politically, broadly, architecturally, and spiritually, the mere concept of the Gothic aesthetic performed towards the particular Gothic artistic itself do: it got people to behave, to think, to respond. Prior to Walpole’s Fortress of Otranto, there did not even are present the concept of a Gothic book. His achievements with that book paved the way for other Romantic writer’s to draw ideas for new reports from the medieval ages, enabling a reminder of what the middle ages times were just like, and how considerably England has come as a land of growth.

Works Cited

Bronte, Charlotte. Jane Eyre. London, uk: Service Paton, 1897. Print.

Clery, E. T. “The genesis of ‘Gothic’ fiction. inches Cambridge Partner to Gothic Fiction. Education. Jerrold Electronic. Hogle. Cambridge: Cambridge University or college Press, 06\. 21-39. Printing.

Colerdige, Samuel Taylor. “Christabel. ” The New Oxford Book of Romantic Period Verse. Male impotence. Jerome M. McGann. Oxford: Oxford School Press, 1993. 376-393. Produce.

Duggett, Tom. Medieval Romanticism: Structures, Politics, and Literary Form. New York: Palgrave Macmillan, 2010. Print.

Gamer, Michael jordan. Romanticism and the Gothic: Genre Reception, and Canon Formation. Cambridge: Cambridge University Press, 2000. Produce.

“Gothic Fiction. inches The Oxford Companion to English Books. 2007. eBook.

Hume, Robert G. “Gothic Vs . Romantic: A Revaluation from the Gothic Novel. ” PMLA 84. two (1969): 282-290. JSTOR. World wide web. 21 Dec 2011.

Keats, Steve. “The Eve of Saint Agnes. ” The New Oxford Book of Romantic Period Verse. Male impotence. Jerome J. McGann. Oxford: Oxford College or university Press, 93. 376-393. Printing.

Longueil, Alfred E. “The Word ‘Gothic’ in Eighteenth Hundred years Criticism. ” Modern Language Notes 32. 8 (1923): 453-460. JSTOR. Web. 3 Jan 2012.

“Romanticism. ” The Oxford Companion to British Literature. 2007. eBook.

Walpole, Horace. The Castle of Otranto. London: Penguin Books, 2001. Print.

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