Modern editions use a later revised version printed in 1817 and featuring a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.It relates the events experienced by a mariner who has returned from a long sea voyage. The Mariner stops a man on his way to a wedding ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from bemusement to impatience, fear, and fascination as the Mariner's story progresses, as can be seen in the language style: for example, the use of narrative techniques such as personification and repetition to create a sense of danger, or the supernatural, or serenity, depending on the mood each different part of the poem.

    A psychological thriller with many more questions than answers. Even though this is one of Poe's shortest stories, it is nevertheless a profound and, at times, ambiguous investigation of a man's paranoia...

    Marion Crawfordtext taken from his 1911 collection of weird fiction UNCANNY TALES, now in public domain.This story tells the classic gothic horror account of a young man in the thrall of a vampire, and...yes, there WILL be blood.Typeset and formatted by the publisher Gideonfell Books, Ltd. January 2010.

    A young English gentleman of means, Aubrey is immediately intrigued by Lord Ruthven, the mysterious newcomer among society’s elite. His unknown origin and curious behavior tantalizes Aubrey’s imagination. But the young man soon discovers a sinister character hidden behind his new friend’s glamorous facade.   When the two are set upon by bandits while traveling together in Europe, Ruthven is fatally injured. Before drawing his last breath, he makes the odd request that Aubrey keep his death and crimes secret for a year and a day. But when Ruthven resurfaces in London—making overtures toward Aubrey’s sister—Aubrey realizes this immortal fiend is a vampyre.   John William Polidori’s The Vampyre is both a classic tale of gothic horror and the progenitor of the modern romantic vampire myth that has been fodder for artists ranging from Anne Rice to Alan Ball to Francis Ford Coppola. Originally published in 1819, many decades before Bram Stoker’s Dracula, and misattributed to Polidori’s friend Lord Byron, The Vampyre has kept readers up at night for nearly two hundred years.

    Until one moonlit night, a horse-drawn carriage crashes into view, carrying an unexpected guest – the beautiful Carmilla. So begins a feverish friendship between Laura and her mysterious, entrancing companion. But as Carmilla becomes increasingly strange and volatile, prone to eerie nocturnal wanderings, Laura finds herself tormented by nightmares and growing weaker by the day… Pre-dating Dracula by twenty-six years, Carmilla is the original vampire story, steeped in sexual tension and gothic romance.

    Jekyll and Mr. HydeMedical school students Fettes and Macfarlane are charged with the unenviable task of receiving and paying for the institution’s research cadavers. When Fettes recognizes the dead body of a woman he saw alive and well just the day before, he suspects murder. Macfarlane, however, insists that the authorities would never believe they had nothing to do with her death. Reluctantly, Fettes agrees to keep quiet, but soon regrets his decision when another familiar corpse turns up—and takes on a life of its own.

    In this story of a water-spirit who married a mortal and gained a human soul there is a delicate fineness of craftsmanship which makes it notable in any department of literature and an easy naturalness which places it close to the genuine folk-myth." -- H.P. Lovecraft, "Supernatural Horror In Literature"

    K. Rowling, Kelly Link, and other contemporary masters of supernatural fiction. In her masterpiece, The Bloody Chamber—which includes the story that is the basis of Neil Jordan’s 1984 movie The Company of Wolves—she spins subversively dark and sensual versions of familiar fairy tales and legends like “Little Red Riding Hood,” “Bluebeard,” “Puss in Boots,” and “Beauty and the Beast,” giving them exhilarating new life in a style steeped in the romantic trappings of the gothic tradition.

    I could not refrain from starting when I heard him utter the name of Clarimonde, and this news of her death, in addition to the pain it caused me by reason of its coincidence with the nocturnal scenes I had witnessed, filled me with an agony and terror which my face betrayed.A terrifying tale by Gautier written in first person. It narrates the story of a young priest, Romuald, who falls in love with a mysterious woman called Clarimonde. He goes through strange experiences after meeting her and she haunts him in his dreams. The author has captured the desires, emotions and feelings of the priest brilliantly. Spine-chilling!

    It is a typical example of a Romantic closet drama. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with music in Three Parts, and later by Pyotr Ilyich Tchaikovsky in his Manfred Symphony, Op. 58, as well as by Carl Reinecke. Friedrich Nietzsche was impressed by the poem's depiction of a super-human being, and wrote some music for it. Byron wrote this "metaphysical drama", as he called it, after his marriage failed in scandal amidst charges of sexual improprieties and an incestuous affair between Byron and his half-sister, Augusta Leigh. Attacked by the press and ostracized by London society, Byron fled England for Switzerland in 1816 and never returned. Because Manfred was written immediately after this and because Manfred regards a main character tortured by his own sense of guilt for an unmentionable offense, some critics consider Manfred to be autobiographical, or even confessional.The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. Byron commenced this work in late 1816, only a few months after the famed ghost-story sessions which provided the initial impetus for Mary Shelley's Frankenstein. The supernatural references are made clear throughout the poem. In one scene, for example, (Act III, Scene IV, Interior of the Tower), Manfred recalls traveling through time (or astral projection traveling) to Caesar's palace, "and fill'd up, As 't were anew, the gaps of centuries...".

    As he travels towards Rome he wrestles with the enigma of his own identity while pursued by his murderous doppelganger. The monk's only hope for salvation lies with the beautiful Aurelie; but in order to escape the curse which lies over his family, he must evade the sinister powers of the living and the dead. In this lively and disturbing gothic tale, Hoffmann combines elements of the fantastic and the sublime to analyse the seductive ambiguities of art and the deeply divided nature of the human imagination.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    While such speculation is murky, it is clear that de Maupassant—hailed alongside Chekhov as father of the short story—was at the peak of his powers in this innovative precursor of first-person psychological fiction. Indeed, he worked for years on The Horla’s themes and form, first drafting it as “Letter from a Madman,” then telling it from a doctor’s point of view, before finally releasing the terrified protagonist to speak for himself in its devastating final version. In a brilliant new translation, all three versions appear here as a single volume for the first time.The Art of The Novella SeriesToo short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

    Tieck's transition to Romanticism is seen in the series of plays and stories published under the title Volksmarchen von Peter Lebrecht (1797), a collection which contains the admirable fairy-tale Der Blonde Eckbert, and the witty dramatic satire on Berlin literary taste, Der Gestiefelte Kater. With his school and college friend Wilhelm Heinrich Wackenroder (1773-1798), he planned the novel Franz Sternbalds Wanderungen (1798), which, with Wackenroder's Herzensergiessungen (1798), was the first expression of the romantic enthusiasm for old German art. His writings between 1798 and 1804 include the satirical drama, Prinz Zerbino (1799), and Romantische Dichtungen (1799-1800). The latter contains Tieck's most ambitious dramatic poems, which were followed in 1804 by the remarkable "comedy" in two parts, Kaiser Oktavianus. These dramas, in which Tieck's poetic powers are to be seen at their best, are typical plays of the first Romantic school.

    It exists in two versions, with minor differences between them. The original was written by Keats in 1819. He used the title of a 15th century poem by Alain Chartier, though the plots of the two poems are different. The poem is considered an English classic, stereotypical to other of Keats' works. It avoids simplicity of interpretation despite simplicity of structure. At only a short twelve stanzas, of only four lines each, with a simple ABCB rhyme scheme, the poem is nonetheless full of enigmas, and has been the subject of numerous interpretations.