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Charles Robert Maturin's first novel, Fatal Revenge; or, The Family of Montorio, was published in 1807. Maturin's dark tale of the brothers Ippolito and Annibal Montorio is a complexly plotted adventure, full of "strong and vigorous fancy, with great command of language," according to Sir Walter Scott. Maturin's relish for the gothic and horrid, so brilliantly exploited in his masterpiece of 1820, Melmoth the Wanderer, here makes its first appearance, and the themes that haunted the later novel find their initial expression in Fatal Revenge. Maturin's unique talents of "darkening the gloomy, and of deepening the sad; of painting life in extremes, and representing those struggles of passion when the soul trembles on the verge of the unlawful and the unhallowed," make Fatal Revenge a compelling essay into the twilight world of the late gothic novel, one in which both innocence and evil are ultimately unable to triumph over the forces that overwhelm them.
Charles Robert Maturin's last novel, The Albigenses (1824), a historical romance of the early 13th century, is a rich tale of the conflict between the Catholic church and the Albigenses, a heretical sect centered in Languedoc. Its historical background does little to inhibit Maturin's strong penchant for extravagant scenes of violence, horror, and vivid evocations of nature at its least benign. His many characters people a well-plotted story of impressive density-the heroine, Genevieve, kind hearted, bold, true to her creed; the ruthless bishop of Toulouse; churchmen and women, of varying degrees of piety; maniacal harridans, formidable outlaws, and knights in armor. The Albigenses received, in general, better reviews than most of his other works, mainly because of its relatively reduced emphasis on blasphemous doings, but the reputation of Melmoth the Wanderer soon overshadowed it. This new edition of The Albigenses aspires to renew interest in the Irish master's final elaborate and engrossing tale.
Charles Robert Maturin's well-known novel, Melmoth the Wanderer (1820), occupies a high-point in Gothic literature. Lurid, vivid, sacrilegious, paranoid, anti-Catholic, painfully tortuous and gleefully drawn out in its depictions of suffering, its title character tries to find victims miserable enough to take over his bargain with "the enemy of mankind." Maturin displayed his talents of "darkening the gloomy" by interweaving tales of Melmoth's intended victims: the Englishman Stanton, ensnared into an insane asylum; the Spaniard Moncada, trapped in monasteries and prisons of the Inquisition; Immalee, an innocent child of nature; Elinor, a Puritan maiden crossed in love, blighted by cruel deception. All are confronted with Melmoth's icy seductions. Maturin's uncanny aptitude for alternating vertiginous intensity with brooding melancholy and despair leads the reader to a dark side of the psyche where the heavy price paid for redemption often tests human fortitude and conviction beyond the limits of endurance."
The Wild Irish Boy (1808) was Charles Robert Maturin's second novel. Set in Ireland and England, the story follows the adventures of Ormsby Bethel, a young Irishman of uncertain ancestry, as he navigates through the temptations of high life, the intrigues of swindlers, gamblers, and fast women, and his own uncertainties about his place in the societies of both countries. Combining features of the silver fork novel, coming-of-age story, and to some degree (in scenes of Irish life) the national novel, The Wild Irish Boy is an entertaining tale full of unexpected twists and turns, extravagant scenes of fashionable excess, misguided and dangerous passions, and long-held secrets with dire consequences: riches and ruin, both moral and financial. Among the colorful characters is the too-fascinating Lady Montrevor, cultured, ingenious, and enigmatic, who adds a dimension of excitement and intrigue that contributes to making The Wild Irish Boy a novel rich with conflicting social and moral viewpoints.
This edition of Romance Readers and Romance Writers (1810) is the first modern scholarly publication of what is arguably Green's most famous novel. As with many of her other works, Green adopts numerous sophisticated methods to parody her contemporaries.
This handbook provides a comprehensive overview of research on the Gothic Revival. The Gothic Revival was based on emotion rather than reason and when Horace Walpole created Strawberry Hill House, a gleaming white castle on the banks of the Thames, he had to create new words to describe the experience of gothic lifestyle. Nevertheless, Walpole’s house produced nightmares and his book The Castle of Otranto was the first truly gothic novel, with supernatural, sensational and Shakespearean elements challenging the emergent fiction of social relationships. The novel’s themes of violence, tragedy, death, imprisonment, castle battlements, dungeons, fair maidens, secrets, ghosts and prophecies led to a new genre encompassing prose, theatre, poetry and painting, whilst opening up a whole world of imagination for entrepreneurial female writers such as Mary Shelley, Joanna Baillie and Ann Radcliffe, whose immensely popular books led to the intense inner landscapes of the Bronte sisters. Matthew Lewis’s The Monk created a new gothic: atheistic, decadent, perverse, necrophilic and hellish. The social upheaval of the French Revolution and the emergence of the Romantic movement with its more intense (and often) atheistic self-absorption led the gothic into darker corners of human experience with a greater emphasis on the inner life, hallucination, delusion, drug addiction, mental instability, perversion and death and the emerging science of psychology. The intensity of the German experience led to an emphasis on doubles and schizophrenic behaviour, ghosts, spirits, mesmerism, the occult and hell. This volume charts the origins of this major shift in social perceptions and completes a trilogy of Palgrave Handbooks on the Gothic—combined they provide an exhaustive survey of current research in Gothic studies, a go-to for students and researchers alike.