Whenever works of the so-called horror mode are condensed into the convenient bluebook format of thirty-six to seventy-two pages duodecimo, they are stripped of the epistemological pessimism of their antecedents. Lewis’s The Monk (1794), with their tendency towards ‘horror’ in the form of moral ambivalence (which themselves represent rare experiments in terms of an unrestrained use of the supernatural), horror according to Burke’s definition is absent in the bluebooks. In contrast to three-decker works such as M. The sentimental and rationalised contents of the bluebooks reveal them as a reactionary mode of the gothic. Apart from a few exceptional cases, it appears doubtful that any more of the items listed below are traceable to full-length gothic novels. Despite the fact that access to the Princely Library at Castle Corvey enabled me to take into consideration a wide range of gothic material, I could not identify more than sixty-three adaptions of longer works among the bluebooks.
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