YEAR 10
ENGLISH
YEAR 10 ENGLISH
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GENRE AND ROMANTICISM
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YEAR 10
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YEAR 10 ENGLISH
LESSON 6: GOTHIC FICTION
This unit has been designed to meet the syllabus requirements of the Australian National
Curriculum. In this lesson the following criteria are addressed.
EN5-1A
Responds to and composes increasingly sophisticated and sustained texts
for understanding, interpretation, critical analysis, imaginative expression
and pleasure
EN5-2A
Effectively uses and critically assesses a wide range of processes, skills,
strategies and knowledge for responding to and composing a wide range of
texts in different media and technologies
EN5-3B
Selects and uses language forms, features and structures of texts
appropriate to a range of purposes, audiences and contexts, describing and
explaining their effects on meaning
EN5-4B
Effectively transfers knowledge, skills and understanding of language
concepts into new and different contexts
EN5-5C
Thinks imaginatively, creatively, interpretively and critically about information
and increasingly complex ideas and arguments to respond to and compose
texts in a range of contexts.
EN5-8D
Questions, challenges and evaluates cultural assumptions in texts and their
effects on meaning
EN5-9E
Purposefully reflects on, assesses and adapts their individual and
collaborative skills with increasing independence and effectiveness
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1.
LESSON 6: GOTHIC FICTION
LITERARY VOCABULARY LESSON 6
VOCABULARY
DEFINITIONS (there may be more than
TYPE OF WORD
one)
Supernatural
Adjective OR Noun
Prophecy
Noun
Overwrought
Adjective
Sentimental
Adjective
Metonymy
Noun
Portent
Noun
Consecrate
Verb
Repletion
Noun
Sporadic
Adjective
Resuscitate
Verb
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YEAR 10 ENGLISH
2.
LESSON 6: GOTHIC FICTION
USE OF VOCABULARY
Write a short passage using as many of the vocabulary words as possible (you may change
the grammatical form of the word if you need to i.e. contemplate/contemplated).
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YEAR 10 ENGLISH
3.
LESSON 6: GOTHIC FICTION
INTRODUCTION TO GOTHIC FICTION
In the previous lessons we have explored Romanticism and how the context, or the time
and circumstances in which a text is composed, influences the ideas in the text. We looked
at how the conflicts and tensions of the late 18th and early 19th centuries were reflected in art
and literature. Also, social changes and a focus on individual freedoms emphasised the
importance of people’s emotions and feelings in everyday life.
In this lesson, we consider the development of Gothicism, which developed during the same
historical context as Romanticism. Gothic fiction thrives on extremity of emotion (such as
love or terror), and revels in the pleasure of horror.
Gothic fiction was established with the publication of The Castle of Otranto by Horace
Walpole in 1764, which had the subtitle “A Gothic Story”. “Gothic” here referred to the
architectural style of the medieval building (the castle) where the story took place. Gothic
fiction, however, did not really take off until the 1790s. The height of Gothic fiction continued
until the 1830s, and so historically the genre coincides with the Romantic movement.
A Gothic atmosphere is created in the picture above by the setting in a graveyard and the
architectural ruins in a gothic style.
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YEAR 10 ENGLISH
4.
LESSON 6: GOTHIC FICTION
CHARACTERISTICS OF GOTHIC FICTION
A Gothic tale is often defined by the setting of the story. Common settings of Gothic include:
a castle, a foreign palace, an abbey, a prison, a subterranean crypt, a graveyard, or a large
old house or theatre (often haunted). Setting is crucial for Gothic fiction as much tension is
derived from the space. The setting may feel claustrophobic for the characters and be
characterised by darkness and shadow. The building or location often holds secrets of the
past that psychologically or physically haunt the human characters.
Other important characteristics of Gothic fiction are explored below:
GOTHIC CHARACTERISTIC1
An
atmosphere
of
mystery
EXAMPLE
and
The Strange Case
suspense.
Dr Jekyll and Mr
Hyde – Robert
The work is pervaded by a threatening
Louis Stevenson
feeling, a fear enhanced by the unknown.
(1886), is based
Often the plot itself is built around a mystery,
such
as
unknown
parentage,
on the mystery
a
about the
disappearance, or some other inexplicable
event.
(In
modern
filmmaking,
connection
the
between Dr Henry
inexplicable events are often murders.)
Jekyll and Edward
Hyde.
An ancient prophecy is connected with
The Castle of
the castle or its inhabitants (either former
Otranto – Horace
or present).
Walpole (1764),
is, in part, based
The prophecy is usually obscure, partial, or
on the prophecy
confusing. In more watered down modern
that the lordship
examples, this may amount to merely a
of Otranto castle
legend: "It's said that the ghost of old man
will pass from the
Krebs still wanders these halls."
current line of
rulers.
1
Source: http://www.virtualsalt.com/gothic.htm
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YEAR 10 ENGLISH
LESSON 6: GOTHIC FICTION
Dracula – Bram
Dreams, omens, portents, visions.
Stoker (1897),
A
character
may
have
a
disturbing
opens with
dreamvision, or some phenomenon may be
Jonathan Barker
seen as a portent of coming events. For
recalling strange
example, if the statue of the lord of the
dreams involving a
manor falls over, it may portend his death. In
howling dog, which
modern fiction, a character might see
something
(a
shadowy
figure
foreshadows the
stabbing
later action where
another shadowy figure) and think that it was
he encounters
a dream.
dangerous dogs
during his travels.
Supernatural or otherwise inexplicable
Wuthering Heights –
events.
Emily Brontë (1847),
is alive with
Dramatic, amazing events occur, such as
apparitions. Mr
ghosts or giants walking, or inanimate
Lockwood has a
objects (such as a suit of armour or painting)
nightmare where he
coming to life. In some works, the events are
sees a ghostly figure
ultimately given a natural explanation, while
trying to enter his
in others the events are truly supernatural.
bedroom window. Mr
Lockwood awakens
convinced that what
he has seen was real.
High, even overwrought emotion.
Dracula – Bram Stoker (1897):
The narration may be highly sentimental, and
“"Monster, give me my child!"
the characters are often overcome by anger,
She threw herself on her knees, and raising up
sorrow, surprise, and especially, terror.
her hands, cried the same words in tones which
Characters suffer from raw nerves and a
wrung my heart. Then she tore her hair and beat
feeling of impending doom. Crying and
her breast, and abandoned herself to all the
emotional speeches are frequent.
violences of extravagant emotion.”
Breathlessness and panic are common.
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YEAR 10 ENGLISH
LESSON 6: GOTHIC FICTION
Women in distress.
Frankenstein – Mary Shelley (1818):
As an appeal to the pathos and sympathy of
“Elizabeth observed my agitation for some time
the reader, the female characters often face
in timid and fearful silence, but there was
events that leave them fainting, terrified,
something in my glance which communicated
screaming,
lonely,
terror to her, and trembling, she asked, "What is
pensive, and oppressed heroine is often the
it that agitates you, my dear Victor? What is it
central figure of the novel, so her sufferings
you fear?"”
and/or
sobbing.
A
are even more pronounced and the focus of
attention. The women suffer all the more
because they are often abandoned, left
alone (either on purpose or by accident), and
have no protector at times.
Women
threatened
by
a
The Vampyre – John
powerful,
impulsive, tyrannical male.
Polidori (1819):
One or more male characters has the power,
“The guardians
as king, lord of the manor, father, or
hastened to protect
guardian, to demand that one or more of the
Miss Aubrey; but
female characters do something intolerable.
when they arrived, it
The woman may be commanded to marry
was too late. Lord
someone she does not love (it may even be
Ruthven had
the powerful male himself), or commit a
disappeared, and
crime.
Aubrey's sister had
glutted the thirst of a VAMPYRE!”
The metonymy of gloom and horror.
Ligeia – Edgar Allan Poe (1838):
Metonymy is a subtype of metaphor, in which
“The wind was rushing hurriedly behind the
something (like rain) is used to stand for
something else (like sorrow). For example,
the film industry likes to use metonymy as a
quick shorthand, so we often notice that it is
raining in funeral scenes. Note that the
following metonymies for "doom and gloom"
all suggest some element of mystery,
danger, or the supernatural.
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tapestries, and I wished to show her (what, let
me confess it, I could not all believe) that those
almost inarticulate breathings, and those very
gentle variations of the figures upon the wall,
were but the natural effects of that customary
rushing of the wind.”
Here the wind is a metonym for the ghostly
presence of the narrator’s dead wife, Ligeia.
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YEAR 10 ENGLISH
LESSON 6: GOTHIC FICTION
FOCUS QUESTIONS:
1. Think about the characteristics associated with gothic fiction; what connections can you
see with Romanticism?
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CLASS DISCUSSION:
Using the following elements of Gothic fiction, create the basis for your own example of
Gothic fiction:
1. An ancient prophecy:
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2. A vision:
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YEAR 10 ENGLISH
LESSON 6: GOTHIC FICTION
3. A supernatural or otherwise inexplicable event:
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4. A metonymy of gloom and horror:
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Note to Students: Gothic Architecture
A classic example of gothic architecture
is Reims Cathedral (also known as
Notre-Dame de Reims). Construction
began in 1211 and was completed in
1275.
Gothic architecture originated in the 12th
century and continued to be produced
into the 16th century. Key features of
gothic architecture are pointed arches
(as seen in the picture), a ribbed internal
vault and flying buttresses.
Painting: Die Kathedral von Reims, Domenico Quaglio
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YEAR 10 ENGLISH
5.
LESSON 6: GOTHIC FICTION
THE VAMPYRE, J. W. POLIDORI (1819)
INTRODUCTION
THE superstition upon which this tale is founded is very general in the East. Among the
Arabians it appears to be common: it did not, however, extend itself to the Greeks until after
the establishment of Christianity; and it has only assumed its present form since the division
of the Latin and Greek churches;2 at which time, the idea becoming prevalent, that a Latin
body could not corrupt if buried in their territory, it gradually increased, and formed the
subject of many wonderful stories, still extant, of the dead rising from their graves, and
feeding upon the blood of the young and beautiful. In the West it spread, with some slight
variation, all over Hungary, Poland, Austria, and Lorraine, where the belief existed, that
vampyres nightly imbibed a certain portion of the blood of their victims, who became
emaciated, lost their strength, and speedily died of consumptions; whilst these human bloodsuckers fattened – and their veins became distended to such a state of repletion, as to
cause the blood to flow from all the passages of their bodies, and even from the very pores
of their skins.
In the London Journal, of March, 1732, is a curious, and, of course, credible account of a
particular case of vampyrism, which is stated to have occurred at Madreyga, in Hungary. It
appears, that upon an examination of the commander-in-chief and magistrates of the place,
they positively and unanimously affirmed, that, about five years before, a certain Heyduke,3
named Arnold Paul, had been heard to say, that, at Cassovia, on the frontiers of the Turkish
Servia, he had been tormented by a vampyre, but had found a way to rid himself of the evil,
by eating some of the earth out of the vampyre's grave, and rubbing himself with his blood.
This precaution, however, did not prevent him from becoming a vampyre4 himself; for, about
twenty or thirty days after his death and burial, many persons complained of having been
tormented by him, and a deposition was made, that four persons had been deprived of life
by his attacks. To prevent further mischief, the inhabitants having consulted their Hadagni,5
took up the body, and found it (as is supposed to be usual in cases of vampyrism) fresh, and
entirely free from corruption, and emitting at the mouth, nose, and ears, pure and florid
blood. Proof having been thus obtained, they resorted to the accustomed remedy. A stake
was driven entirely through the heart and body of Arnold Paul, at which he is reported to
2
This is a reference to the Great Schism, when the Christian church divided into Eastern Orthodox
and Roman Catholic.
3
A ‘heyduke’ or ‘hajduk’ is a type of mercenary solider.
4
[This footnote is part of the novel The Vampyre]: The universal belief is that a person sucked by a
vampyre becomes a vampyre himself, and sucks in his turn.
5
[This footnote is part of the novel The Vampyre]: Chief bailiff.
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LESSON 6: GOTHIC FICTION
have cried out as dreadfully as if he had been alive. This done, they cut off his head, burned
his body, and threw the ashes into his grave. The same measures were adopted with the
corses6 of those persons who had previously died from vampyrism, lest they should, in their
turn, become agents upon others who survived them.
FOCUS QUESTIONS:
1. How is the supernatural used to create suspense in the introduction to The Vampyre?
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This monstrous rodomontade7 is here related, because it seems better adapted to illustrate
the subject of the present observations than any other instance which could be adduced. In
many parts of Greece it is considered as a sort of punishment after death, for some heinous
crime committed whilst in existence, that the deceased is not only doomed to vampyrise, but
compelled to confine his infernal visitations solely to those beings he loved most while upon
earth—those to whom he was bound by ties of kindred and affection.—A supposition alluded
to in the "Giaour."8
But first on earth, as Vampyre sent,
Thy corse shall from its tomb be rent;
6
‘Corse’ is an archaic word for ‘corpse’.
Extravagantly boastful or arrogant saying or speech.
8
“Giaour” is a poem written by Lord Byron published in 1813. It is Turkish for ‘infidel’ and tells the
story of Leila, a woman in a harem, who falls in love with a Giaour and is drowned by her husband. It
is told by several narrators, who predict the Giaour’s fate to be vampirism as punishment for his
actions.
7
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LESSON 6: GOTHIC FICTION
Then ghastly haunt the native place,
And suck the blood of all thy race;
There from thy daughter, sister, wife,
At midnight drain the stream of life;
Yet loathe the banquet which perforce
Must feed thy livid living corse,
Thy victims, ere they yet expire,
Shall know the demon for their sire;
As cursing thee, thou cursing them,
Thy flowers are withered on the stem.
But one that for thy crime must fall,
The youngest, best beloved of all,
Shall bless thee with a father's name—
That word shall wrap thy heart in flame!
Yet thou must end thy task and mark
Her cheek's last tinge—her eye's last spark,
And the last glassy glance must view
Which freezes o'er its lifeless blue;
Then with unhallowed hand shall tear
The tresses of her yellow hair,
Of which, in life a lock when shorn
Affection's fondest pledge was worn—
But now is borne away by thee
Memorial of thine agony!
Yet with thine own best blood shall drip;
Thy gnashing tooth, and haggard lip;
Then stalking to thy sullen grave,
Go—and with Gouls9 and Afrits10 rave,
Till these in horror shrink away
From spectre more accursed than they.
Mr. Southey11 has also introduced in his wild but beautiful poem of "Thalaba,"12 the vampyre
corse of the Arabian maid Oneiza, who is represented as having returned from the grave for
the purpose of tormenting him she best loved whilst in existence. But this cannot be
9
Ghouls
Afrits or Afreets are fire demons in Muslim mythology
11
Robert Southey 1774-1843, an English poet.
12
This epic poem is divided into twelve books which describe many myths and superstitious beliefs.
10
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LESSON 6: GOTHIC FICTION
supposed to have resulted from the sinfulness of her life, she being portrayed throughout the
whole of the tale as a complete type of purity and innocence. The veracious13 Tournefort14
gives a long account in his travels of several astonishing cases of vampyrism, to which he
pretends to have been an eyewitness; and Calmet,15 in his great work upon this subject,
besides a variety of anecdotes, and traditionary narratives illustrative of its effects, has put
forth some learned dissertations, tending to prove it to be a classical, as well as barbarian
error.
Many curious and interesting notices on this singularly horrible superstition might be added;
though the present may suffice for the limits of a note, necessarily devoted to explanation,
and which may now be concluded by merely remarking, that though the term Vampyre is the
one in most general acceptation, there are several others synonymous with it, made use of
in various parts of the world: as Vroucolocha,16 Vardoulacha, Goul, Broucoloka,17 &c.
2. What elements of gothic fiction are present in the introduction to The Vampyre? Support
your answer with examples from the extracts.
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13
Habitually speaking the truth; observant of the truth
Joseph Pitton de Tournefort, 1656-1708, a French Botantist who travelled through Europe and
published information on vampire myth as well as plants.
15
Antoine Augustin Calmet, 1672-1757, a French clergyman who wrote a variety of works where he
discussed religious issues, the Bible, and a treatise on the existence of vampires.
16
The term originates in the Eastern Mediterranean (the Levant)
17
The term originates in Greece
14
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YEAR 10 ENGLISH
LESSON 6: GOTHIC FICTION
3. In this extract from The Vampyre, superstition is used to help create a sense of
suspense. Given the details provided in the introduction, how do you think the story of
The Vampyre will progress? Use evidence from the extract to support your response.
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A variant on gothic fiction, involves an urban setting that may be heavily inspired or
dominated by gothic architecture.
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6.
LESSON 6: GOTHIC FICTION
EXTENDED RESPONSES
The key to performing well in English is to develop sustained arguments. An extended
response is a style of critical writing that is used in English that can be thought of as a small
essay. The best extended responses will demonstrate your critical thinking about the text/s
under discussion.

How to Structure an Extended Response
Introduction
Body Paragraphs
Conclusion
The structure of an extended response is the same at that required of an essay. If it helps,
you can consider an extended response as just another term for an essay, since in both
cases you’ll need to construct a response to a particular question (in the INTRODUCTION),
provide evidence to substantiate your response (in the BODY PARAGRAPHS), and to
summarise your argument (in the CONCLUSION).
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7.
LESSON 6: GOTHIC FICTION
HOW TO PLAN YOUR ANSWER
Prior to writing your extended response, it is a good idea to plan your answer to the
question. Even in an exam situation, spending a couple of minutes planning your answer will
help you stay on topic. So what are some useful planning strategies? Let’s go through the
process of planning an answer by considering an extended response question:
Discuss the elements of gothic fiction in The Vampyre. To what extent does The Vampyre
reflects the values of Romanticism?

Step One: Key Terms
In order to provide a strong answer to the question, you need to feel confident about what
exactly the question is asking from you. What are the key terms in the question above?
There is a table of ‘question terms’ at the end of this lesson.
Rewrite the question in your own words below:
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There are TWO main areas that need to be addressed in this question and both must be
completed in order to provide a strong response. The first part of the question seeks a
discussion of ‘gothic fiction’, so the expectation here is that there will be a focus on
language and narrative techniques in your answer. The second part of the question is more
complicated. The phrase “To what extent” is asking you to come to AN INDEPENDENT
JUDGEMENT about the topic. The question could be rephrased as “How much do you think
The Vampyre reflects the values of Romanticism?” The answer to this question is open to
your interpretation because it allows you to agree in some ways and disagree in others.
Because your personal judgement is sought you may use the first-person in your response,
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LESSON 6: GOTHIC FICTION
although try to kept the use of first-person to a minimum. “To what extent” questions can be
intimidating for students because of the focus on a personal judgement, however, by
planning your response carefully you can minimise some of the associated stress.
In terms of the expectation of your markers, the best kind of response to a question
beginning “to what extent” is one that agrees (at least in part) with the question. So your
initial answer may be: “Yes, The Vampyre reflects certain values of Romanticism… but not
others…”

Step Two: Brain Storm
What information will best answer the question? How should the argument be structured?
Your answers to these questions are important. At this stage, it is useful to go back to the
text, in this case The Vampyre, to see what key examples and features of the text will help
you answer the question.
At this stage revising your understanding of topics like ‘gothic fiction’ and ‘Romanticism’ will
also be important. There are a number of different strategies that you might use to help
clarify your ideas, such as creating a mind- or concept-map, listing relevant points or drawing
up a rough structure of your essay. Use the space below to work on your plan.
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YEAR 10 ENGLISH

LESSON 6: GOTHIC FICTION
Step Three: Thesis Statement
Choosing how you’ll organise your evidence depends very much on your answer to the
question. The term ‘thesis statement’ basically translates as the ‘statement of your
argument’. A strong thesis statement is essential as it is the ‘big idea’ that your essay will
explore. It should be about one or two sentences in length.
A thesis statement:

Tells the reader your INTERPRETATION of the question; in other words, it provides
a direct ANSWER to the question.

Tells the reader what to expect in the body of the essay.
It takes time to develop a thesis statement because you need to first collect the evidence
that is relevant to answer the question, and then look for the relationships between the
different pieces of evidence. This background work is essential as a good argument won’t
just come to you out of nowhere.
FOCUS QUESTIONS:
1. List the major pieces of evidence you intend to use in your essay below.
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LESSON 6: GOTHIC FICTION
2. What relationships to Romanticism can you see between the different pieces of
evidence?
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3. Using the work above, construct your thesis statement:
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YEAR 10 ENGLISH
8.
LESSON 6: GOTHIC FICTION
QUESTION TERMINOLOGY
Understanding what an essay question requires from you is the first step to writing a strong
response. The table below contains a range of common question terms and their definition
for the purpose of essay writing.
QUESTION TERM
WHAT IS REQUIRED
Analyse
Consider in detail to discover the essential features or meaning
Assess
Similar to evaluate. To determine or evaluate the nature or quality of
something.
Compare
Examine in detail to note the similarities and differences
Critically analyse
Applying rational and logical thinking to your analysis of a text to
determine its value and meaning
Critically evaluate
To apply rational and logical thinking when coming to a judgement
about the value and meaning of a text
Define
Describe the exact nature, scope or meaning of a text
Demonstrate
Clearly show the existence of something by providing evidence
Describe
Give an account of something including all the relevant details
Discuss
Write about a topic in detail, taking into account different ideas and
opinions
Distinguish
Point out the relevant differences
Evaluate
To examine a text carefully and come to a careful judgement based
on your examination.
Examine
Inspect a text in detail to determine its nature, value or meaning.
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LESSON 6: GOTHIC FICTION
Explain
Describe a feature/s of the text in detail to reveal the relevant ideas
Identify
To determine the definitive characteristics of something
Investigate
Carry out a systematic enquiry to establish the relevant details about a
text (often in terms of its themes)
Justify
To provide an explanation for your ideas using relevant evidence from
the text
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9.
LESSON 6: GOTHIC FICTION
WEEK 6 HOMEWORK TASK
Compose an essay to the following question:
How does the “Giaour” (provided below) from The Vampyre explore ideas relating to Gothic
Fiction and Romanticism?
But first on earth, as Vampyre sent,
Thy corse shall from its tomb be rent;
Then ghastly haunt the native place,
And suck the blood of all thy race;
There from thy daughter, sister, wife,
At midnight drain the stream of life;
Yet loathe the banquet which perforce
Must feed thy livid living corse,
Thy victims, ere they yet expire,
Shall know the demon for their sire;
As cursing thee, thou cursing them,
Thy flowers are withered on the stem.
But one that for thy crime must fall,
The youngest, best beloved of all,
Shall bless thee with a father's name—
That word shall wrap thy heart in flame!
Yet thou must end thy task and mark
Her cheek's last tinge—her eye's last spark,
And the last glassy glance must view
Which freezes o'er its lifeless blue;
Then with unhallowed hand shall tear
The tresses of her yellow hair,
Of which, in life a lock when shorn
Affection's fondest pledge was worn—
But now is borne away by thee
Memorial of thine agony!
Yet with thine own best blood shall drip;
Thy gnashing tooth, and haggard lip;
Then stalking to thy sullen grave,
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LESSON 6: GOTHIC FICTION
Go—and with Gouls18 and Afrits19 rave,
Till these in horror shrink away
From spectre more accursed than they.
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18
19
Ghouls
Afrits or Afreets are fire demons in Muslim mythology
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LESSON 6: GOTHIC FICTION
Outcomes
The following Australian National Curriculum outcomes are addressed through this task:
EN5-1A
Responds to and composes increasingly sophisticated and sustained texts
for understanding, interpretation, critical analysis, imaginative expression
and pleasure
EN5-3B
Selects and uses language forms, features and structures of texts
appropriate to a range of purposes, audiences and contexts, describing and
explaining their effects on meaning
EN5-4B
Effectively transfers knowledge, skills and understanding of language
concepts into new and different contexts
EN5-5C
Thinks imaginatively, creatively, interpretively and critically about information
and increasingly complex ideas and arguments to respond to and compose
texts in a range of contexts.
EN5-9E
Purposefully reflects on, assesses and adapts their individual and
collaborative skills with increasing independence and effectiveness
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LESSON 6: GOTHIC FICTION
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