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 The Longman

of Gothic Verse
The Longman Anthology
Anthology of
Gothic Verse
EDITED BY
CAROLINE FRANKLIN

Gothic verse liberated the dark side of Romantic and Victorian verse: its
medievalism, melancholy and morbidity. Some poets intended merely to shock
or entertain, but Gothic also liberated the creative imagination and inspired them
to enter disturbing areas of the psyche and to portray extreme states of human
consciousness. This anthology illustrates that journey.

This is the first modern anthology of Gothic verse. It traces the rise of Gothic
in the late eighteenth century and follows its footsteps through the nineteenth
century. Gothic has never truly died as it constantly reinvents itself, and this lively,
illustrated and annotated anthology offers students the atmospheric poetry that
originally studded terror novels and inspired horror films. Alongside canonical
verse by Coleridge, Keats and Poe, it introduces readers to lesser-known
authors’ excursions into the macabre and the grotesque. A wide range of poetic
forms is included: as well as ballads, tales, lyrics, meditative odes and dramatic
monologues, a medievalist romance by Scott and Gothic drama by Byron are
also included in full.

The Longman
A substantial introduction by Caroline Franklin puts the rise of Gothic poetry
into its historical context, relating it both to Romanticism and Enlightenment

CAROLINE FRANKLIN
EDITED BY
historicism. Although Gothic fiction has now been receiving serious critical

Anthology of
attention for twenty years, Gothic verse has been largely overlooked. It is
therefore hoped that this anthology will stimulate scholarly interest as well as
readers’ pleasure in these unearthly poems.

The Nightmare, 1781 (oil on canvas) by Henry Fuseli, (Fussli, Johann Heinrich) (1741-1825). Reproduced
courtesy of The Detroit Institute of Arts, USA /Founders Society purchase with Mr & Mrs Bert L. Smokler
and Mr & Mrs Lawrence A. Fleischman funds / The Bridgeman Art Library.
Gothic Verse

EDITED BY
www.pearson-books.com
CAROLINE FRANKLIN

CVR_FRAN9314_01_SE_CVR.indd 1 16/6/10 08:59:35

THE LONGMAN ANTHOLOGY
OF GOTHIC VERSE
THE LONGMAN
ANTHOLOGY OF
GOTHIC VERSE

Edited by

CAROLINE FRANKLIN
Swansea University
PEARSON EDUCATION LIMITED
Edinburgh Gate
Harlow CM20 2JE
United Kingdom
Tel: +44 (0)1279 623623
Fax: +44 (0)1279 431059
Website: www.pearsoned.co.uk

First edition published in Great Britain in 2011

© Pearson Education Limited 2011

The right of Caroline Franklin to be identified as author

of this work has been asserted by her in accordance
with the Copyright, Designs and Patents Act 1988.

ISBN: 978-1-4058-9931-4

British Library Cataloguing in Publication Data

A CIP catalogue record for this book can be obtained from the British Library

Library of Congress Cataloging in Publication Data

The Longman anthology of gothic verse / edited by Caroline Franklin.
p. cm.
Includes bibliographical references and indexes.
ISBN 978-1-4058-9931-4 (pbk.)
1. Gothic poetry (Literary genre), English. 2. Gothic poetry (Literary genre), American.
3. Gothic poetry (Literary genre) I. Franklin, Caroline, 1949–
PR1195.G65L66 2010
821′.008015—dc22
2010019793

All rights reserved; no part of this publication may be reproduced, stored

in a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise without either the prior
written permission of the Publisher or a licence permitting restricted copying
in the United Kingdom issued by the Copyright Licensing Agency Ltd,
Saffron House, 6–10 Kirby Street, London EC1N 8TS. This book may not be lent,
resold, hired out or otherwise disposed of by way of trade in any form
of binding or cover other than that in which it is published, without the
prior consent of the Publishers.

10 9 8 7 6 5 4 3 2 1
14 13 12 11 10

Set by 35 in 9/12pt Stone Serif

Printed and bound in Malaysia, CTP-KHL
For Mike, Geraint and Beatriz, Ieuan and Céline
 CONTENTS

List of plates xi
Preface xii
Acknowledgements xiv
Timeline xv

Introduction 1

Thomas Percy (1729–1811) – editor 17

Edward 17
Sweet William’s Ghost 20

Walter Scott (1771–1832) – editor 23

The Cruel Sister 23

Edward Young (bap. 1683–1765) 27

From The Complaint: or, Night Thoughts on Life, Death and Immortality 27

Robert Blair (1699–1746) 29

From The Grave, A Poem 29

Thomas Gray (1716–1771) 32

The Fatal Sisters: An Ode 32

Johann Wolfgang von Goethe (1749–1832) 36

The Erl-King 36
The Bride of Corinth 38

Charlotte Turner Smith (1749–1806) 46

Sonnet 44 46

George Crabbe (1754–1832) 48

‘Peter Grimes’ from The Borough 48
The World of Dreams 58

Mary Darby Robinson (1756–1800) 70

The Haunted Beach 70

Robert Burns (1759–1796) 73

Tam o’Shanter: A Tale 73

vii
CONTENTS

Joanna Baillie (1762–1851) 82

The Ghost of Faden 82

Helen Maria Williams (1761–1827) 90

Part of an Irregular Fragment 90

Ann Ward Radcliffe (1764–1823) 98

Shipwreck 98

William Taylor (1765–1836) 100

Ellenore 100

James Hogg (bap. 1770–1835) 112

The Witch of Fife 113
Kilmeny 124
Superstition 136
A Witch’s Chant 143

William Wordsworth (1770–1850) 145

The Thorn 146
The Danish Boy, a Fragment 154
From The Prelude, Book 1 – childhood and school time 156

Sir Walter Scott (1771–1832) 160

The Lay of the Last Minstrel 160

Samuel Taylor Coleridge (1772–1834) 256

The Rime of the Ancyent Marinere in Seven Parts 258
Christabel 279

Robert Southey (1774–1843) 300

The Old Woman of Berkeley 302
God’s Judgement on a Wicked Bishop 308
Cornelius Agrippa 311
From Thalaba the Destroyer, Book 8 313

M. G. Lewis (1775–1818) 317

Midnight Hymn 318
Alonzo the Brave and Fair Imogine 320

John Herman Merivale (1779–1844) 325

The Dead Men of Pest 325

Thomas Moore (1779–1852) 332

The Lake of the Dismal Swamp 332

viii
 CONTENTS

Charlotte Dacre – Charlotte King Byrne (1782?–1825) 335

Death and the Lady 336
The Mistress to the Spirit of her Lover 340
Mildew 342

(James Henry) Leigh Hunt (1784–1859) 343

Politics and Poetics 343

Thomas Love Peacock (1785–1866) 349

A Damsel Came in Midnight Rain 349
It Was a Friar of Orders Free 351
The Pool of the Diving Friar 352

George Gordon, Lord Byron (1788–1824) 356

Manfred, A Dramatic Poem 356
‘The Black Friar’ from Don Juan 403

Percy Bysshe Shelley (1792–1822) 414

Fragment, or the Triumph of Conscience 414
Song: ‘Ah! faint, are her limbs’ 415
Zeinab and Kathema 416
Ginevra 422

John Clare (1793–1864) 428

The Haunted Pond 428
An Invite to Eternity 433

Felicia Dorothea Hemans (née Browne) (1793–1835) 435

Second Sight 436
The Haunted House 437

John Keats (1795–1821) 440

Lamia 440
Isabella, or, The Pot of Basil 461
The Eve of St Agnes 478
La Belle Dame sans Merci 492

Nathaniel Thomas Haynes Bayly (1797–1839) 495

The Mistletoe Bough 495

Thomas Hood (1799–1845) 497

The Last Man 497
Mary’s Ghost 504

Thomas Lovell Beddoes (1803–1849) 507

Dirge 508

ix
CONTENTS

Song 508
A Voice from the Water 509

Edgar Allan Poe (1809–1849) 510

The Raven 511
The Haunted Palace 515
The Sleeper 517

Alfred, Lord Tennyson (1809–1892) 519

The Lady of Shalott 519

Robert Browning (1812–1889) 526

Porphyria’s Lover 526

Emily Jane Brontë (1818–1848) 529

I’m Happiest When Most Away 530
The Night is Darkening Round Me 530
In the Earth, the Earth, Thou Shalt be Laid 531

Emily Dickinson (1830–1886) 532

I Like a Look of Agony 532
I Felt a Funeral in my Brain 532
One Need not be a Chamber – to be Haunted 533
Because I Could not Stop for Death 534
I Heard a Fly Buzz when I Died 535

Christina Georgina Rossetti (1830–1894) 536

Goblin Market 536

James Thomson, pseud. B.V. (1834–1882) 553

In the Room 554

Algernon Charles Swinburne (1837–1909) 561

After Death 561
Itylus 564

John Davidson (1857–1909) 567

A Ballad of a Nun 567

( Joseph) Rudyard Kipling (1865–1936) 573

The Vampire 573

Bibliography 575
Index 581

x
 LIST OF PLATES

1: Graveyard by Bewick in Hugo, Thomas 1784.b.13 figure 1055 31

2: Goya, The Sleep of Reason Produces Monsters 68

3: Gustav Doré’s illustration of ‘The Ancyent Marinere’ 257

4: An illustration from Poems by Robert Southey 301

5: John Tenniel’s illustration for ‘The Raven’ 512

6: Black and white book illustration to Goblin Market 537

Colour plates (in central plate section)

1: Phillip de Loutherbourg, Visitor to a Moonlit Churchyard.

2: Joseph Mallord Turner, Fishermen at sea.

3: James Gillray, cartoon of readers reading Lewis’s ‘Tales of Wonder!’

4: The original illustration to Lewis’s Tales of Terror.

5: William Blake, The Ghost of a Flea.

6: William Holman Hunt, The Lady of Shalott.

7: Sir Frank Dicksee, La Belle Dame Sans Merci.

8: Thomas Cooper Gotch, Death the Bride.

xi
 PREFACE

AIMS

This is the first anthology of its kind, as most Gothic selections are dominated by
prose. Its primary aim is to offer a coherent, varied body of stimulating material
to students and scholars of Gothic and to poetry lovers. Though readers will pick
and choose at random, were anyone predisposed to read through from beginning
to end they would easily be able to trace influences, developments, rewriting and
interactions between these texts. The historical context for the rise and develop-
ment of Gothic verse is sketched in the Introduction.
Secondly, this selection poses a number of questions to the academy. It resists
the conventional categorisation of ‘Romantic’ and Victorian verse, and the usual
assumption that Gothic was largely the province of prose fiction. Demonstrably,
there was an interaction between poetry, prose and drama in Gothic. The anthology
challenges distinctions between ‘high’ and ‘low’, and in this is probably more
representative of the verse that was read and enjoyed in its own time than modern
selections based on the Romantic poetry canonised in the twentieth century. Gothic
continues to be a burgeoning area in contemporary critical and cultural studies.
Many of these poems are not only entertaining texts, but particularly susceptible to
a variety of sophisticated literary approaches – cultural materialist, psychoanalytical,
deconstructionist, postcolonial and gender-centred. Yet Gothic verse has hitherto
been relatively neglected as an area of research.

SCOPE

The anthology is presented chronologically and begins with examples from the
first collections of traditional ballads and meditative passages from the ‘graveyard
poetry’ of the eighteenth century and concludes with some late Victorian excursions
into sinister magical or mythic worlds. However, most of the verse selected was
written in the first half of the nineteenth century, and in English – though one
or two influential translations of German ballads have been included. Other than
two important American writers, all the poets are British. ‘Gothic’, like most literary
labels, defies precise definition, but most of this poetry deals with the supernatural,
the afterlife, apparitions, monsters or the marvellous. The Introduction explains that
it was produced by a late Enlightenment religious scepticism in dialogue with the
Gothic revival in art and architecture which heralded the Anglo-Catholicism of
the Oxford Movement. Later verse uses meta-Gothic or Gothic clichés as imagery to
symbolise psychic states. A heterogeneous group of poets of the period is represented:
major and minor, men and women; and the verse ranges from well-loved favourites
such as ‘The Lady of Shalott’ to neglected gems, some in Scots or dialect. Though

xii
 PREFACE

narrative predominates, generically the selection is varied and often experimental:

there are ballads, fragments, verse tales, lyrics, songs and comic verse. In addition,
a metrical romance by Scott, a verse drama by Byron and a fairytale for children by
Christina Rossetti are all included in their entirety. Some of the poetry was written
merely to shock and entertain, but Gothic also liberated the creative imagination
and inspired Romantic poets to enter disturbing areas of the psyche and to portray
extreme states of human consciousness. This anthology illustrates that journey. In
order to suggest links between the literary and the broader artistic movement of
Gothic, a selection of illustrations is provided of paintings and art which inspired
or were inspired by this poetry.

LEVEL

The anthology is directed at a sophisticated readership, and scholarly apparatus is

suggestive rather than exhaustive. Each poet is introduced with a brief biographical
headnote focused particularly on relevance to the Gothic, while each poem is provided
with a brief introductory note and explanatory footnotes gloss difficult passages,
dialect and archaic terms. The substantial Introduction provides historical context
and indicates promising theoretical and critical approaches. A full bibliography
and a timeline provide further information. The poems are indexed by (i) author,
(ii) title/first line.

xiii
 ACKNOWLEDGEMENTS

I have had a great deal of help with this anthology from friends, colleagues and
students, and have also relied on invaluable scholarly resources such as OED, ODNB,
ECCO, and Google Books, as well as the staff and facilities at the British Library and
Swansea University library. I would like to thank particularly: Patrick Crotty, Gavin
Edwards, Mike Franklin, Kit Fryatt, Tim Fulford, Ian Glen, John Goodridge, Peter
Kitson, Ian Packer, Lynda Pratt, Marie Mulvey Roberts, Andrew Smith and Martyn
Sullivan for support, useful suggestions and information. In addition, my students
of EN214 Gothic and the Fantastic seminars gave me lively feedback and thought-
provoking comments, as did the anonymous readers and my editors at Longman,
Philip Langeskov and Kate Ahl.

xiv
 TIMELINE

1742–5 Edward Young’s The Complaint: or, Night Thoughts on Life, Death, and
Immortality published.
1743 Robert Blair’s The Grave published.
1746–7 James Hervey’s Meditations Among the Tombs published.
1747 Thomas Warton, On the Pleasures of Melancholy published.
1749 William Collins, ‘An Ode on the Popular Superstitions of the Highlands
of Scotland’ written (published 1788).
1751 Thomas Gray’s Elegy in a Country Churchyard published.
1757 Edmund Burke, Origin of our Ideas of the Sublime and Beautiful published.
1760 James Macpherson’s Fragments of Ancient Poetry Collected in the Highlands
of Scotland published.
1762 Richard Hurd’s Letters on Chivalry and Romance published.
1763 Thomas Percy’s Five Pieces of Runic Poetry, translated from the Icelandic
published.
The Works of Ossian edited by James Macpherson.
1764 Horace Walpole’s The Castle of Otranto published.
1765 Thomas Percy’s Reliques of English Poetry published.
1768 Thomas Gray’s Poems including ‘The Fatal Sisters’ published.
Horace Walpole privately printed his drama The Mysterious Mother.
1769 Essay on the Writings and Genius of Shakespear by Elizabeth Montagu
published.
1770 Paul Henri Mallet published Northern Antiquities, tr. T. Percy.
1771 James Beattie’s The Minstrel published.
1773 Anna Letitia Aikin published her essay ‘On the Pleasure Derived from
Objects of Terror’ and Poems.
1774 John Aikin’s translation of Tacitus’s Germania.
1778 Clara Reeve published her novel The Old English Baron.
Thomas Warton published The History of English Poetry.
1781 Johann Heinrich Fuseli painted first version of The Nightmare.
1783 James Beattie, On Fable and Romance published.
1784 Charlotte Smith’s Elegiac Sonnets published at her own expense.
1785 Sophia Lee published the novel The Recess.
Clara Reeve published The Progress of Romance.
1786 Robert Burns’s Poems, Chiefly in the Scottish Dialect printed in Kilmarnock.
Helen Maria Williams published ‘Part of an Irregular Fragment’ in Poems.
William Beckford published the novel Vathek.
1789 Ann Radcliffe published The Castles of Athlin and Dunbayne.
Johann Friedrich von Schiller published The Ghost-Seer; or, Apparitionist,
tr. D. Boileau.
William Blake published Songs of Innocence.

xv
TIMELINE

1790 Ann Radcliffe published A Sicilian Romance.

Joanna Baillie published Poems.
Edmund Burke’s Reflections on the Revolution in France published.
Frank Sayers published Dramatic Sketches of the Ancient Northern Mythology.
1791 Ann Radcliffe published The Romance of the Forest.
1791 ‘Tam o’Shanter’ was published in the Edinburgh Magazine.
1794 Ann Radcliffe published The Mysteries of Udolpho.
William Godwin published Caleb Williams; or, Things as They Are.
Blake published Songs of Experience.
1795 Joseph Ritson published Robin Hood: A Collection of all the Ancient Poems,
Songs and Ballads now Extant related to that Celebrated English Outlaw
(1795).
1796 William Taylor’s translation of Gottfried Bürger’s ballad ‘Lenore’
published.
M. G. Lewis’s novel The Monk published.
Mary Robinson published Hubert de Sevrac.
1797 Ann Radcliffe published The Italian.
Robert Southey published Poems.
‘On the Terrorist System on Novel-Writing’ published.
M. G. Lewis’s drama The Castle Spectre performed in Drury Lane.
Young’s Night Thoughts published with Blake’s illustrations.
1798 Goethe’s ‘Erl-King’ and ‘The Bride of Corinth’ published in Friedrich
Schiller’s Musenalmanach.
Charles Brockden Brown published Wieland.
Walter Scott published a translation of Goethe’s Götz von Berlichingen.
Plays on the Passions appeared anonymously but was later acknowledged
by Joanna Baillie.
William Wordsworth and Samuel Taylor Coleridge published Lyrical
Ballads, with a Few Other Poems.
William Wordsworth and Coleridge visited Germany.
Wordsworth wrote ‘The Danish Boy’ and began The Prelude.
Following criticism, ‘Monk’ Lewis published an expurgated fourth
edition of The Monk.
Nathan Drake’s essay ‘On Gothic Superstition’ published.
1799 Robert Southey published Poems.
Francisco Goya produced his etching ‘The Sleep of Reason Produces
Monsters’.
Sharon Turner’s Tory History of the Anglo-Saxons published.
1800 Mary Robinson’s ‘The Haunted Beach’ published in Lyrical Tales.
Coleridge published a translation of Friedrich Schiller’s play Wallenstein.
1801 M. G. Lewis published his Gothic anthology Tales of Wonder and his
tragedy Alfonso, King of Castile.
Robert Southey published his oriental verse tale Thalaba the Destroyer.
1802 Minstrelsy of the Scottish Border edited by Walter Scott.
‘On the Supernatural in Poetry’ by Ann Radcliffe published.
1803 Thomas Moore wrote ‘The Lake of the Dismal Swamp’.

xvi
 TIMELINE

1805 Walter Scott’s The Lay of the Last Minstrel published.

Charlotte Dacre published Hours of Solitude and the novel
The Confessions of the Nun of St Omer.
M. G. Lewis translated The Bravo of Venice by H. Zschokke.
1806 Herman Merivale’s ‘The Dead Men of Pest’ published in The Athenaeum.
Charlotte Dacre published Zofloya; or, The Moor.
M. G. Lewis published Feudal Tyrants; or The Counts of Carlsheim and
Sargens. A Romance.
Robert Southey published his verse tale on a medieval Welsh prince: Madoc.
1807 Charles Maturin published The Fatal Revenge; or, The Family of Montorio.
Wordsworth published Poems in Two Volumes.
1808 Walter Scott’s verse tale Marmion published.
Goethe’s drama Faust, part one, published.
M. G. Lewis published Romantic Tales the second edition of Tales of
Terror and Venoni; or, The Novice of St Mark’s.
1809 Coleridge’s ‘The Three Graves: A Fragment of a Sexton’s Tale’ appeared
in his periodical The Friend.
Byron published English Bards and Scotch Reviewers.
1810 Percy Bysshe Shelley published the Gothic novel Zastrozzi.
George Crabbe’s The Borough published.
Leigh Hunt’s ‘Politics and Poetics’ published.
John Stagg published ‘The Vampire’.
Robert Southey’s oriental tale The Curse of Kehama published.
1811 P. B. Shelley published St Irvine, or, the Rosicrucian and wrote
‘Zeinab and Kathema’.
Diary of A Resurrectionist published by James Blake Bailey, giving
accounts of body-snatching.
1812 Tales of the Dead, tr. Mrs Utterson from German of Gespensterbuch
(1811–15).
Charles Maturin published The Milesian Chief, a Romance.
Byron published Childe Harold’s Pilgrimage.
1813 James Hogg published The Queen’s Wake.
Byron’s Oriental verse tale The Giaour published.
John and Leigh Hunt imprisoned for two years for criticising the
Prince Regent.
1814 Robert Southey published his Roderick, the Last of the Goths.
Walter Scott published Waverley.
1815 Wordsworth published Poems.
1816 Christabel; Kubla Khan, a Vision; The Pains of Sleep by Coleridge published.
Thomas Love Peacock’s novel Headlong Hall published.
P. B. Shelley published Alastor, or the Poet of Solitude.
Charles Maturin’s drama Bertram performed in Drury Lane Theatre.
1817 George Crabbe wrote but did not publish ‘The World of Dreams’.
Thomas Love Peacock’s novel Melincourt published.
Coleridge’s Biographia Literaria and Sibylline Leaves published.
Byron’s play Manfred published.

xvii
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