By Fred Chappell

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Yellow gentle stuffed the attic. the sunshine locked with the dust--tons of airborne dirt and dust up here--and the ambience of where filled his head like a fever. It appeared that he perceived this gentle with each nerve of his body.

The attic was once normally empty yet towards the south wall used to be a queer arrangment of chains; the ends dangled approximately seven ft from the ground and had vast iron bands connected. The bands have been hinged on one facet so that they may open and close. The chains appeared crimson within the yellow light.

He held one of many bands and stroked his finger alongside the interior and it got here away reddish. Rust, he inspiration; however it didn't flake; it wasn't gritty like rust. It was once outdated, caked blood. . .

Slowly, Peter is mesmerized and starts off a trip into insanity the place a bloodstained god waits to say the brain and soul of the final of the Lelands.

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The outcome of the internal struggle, like that of the external one, is always destruction and fragmentation (or vivisection), so that her characters' inter-subjective and intra-subjective struggles collapse into one another, and problematize the boundaries between external reality and internal experience, a feature characteristic of the Gothic's psychological complexity. In the last line of Zofloya, Dacre poses the novel's central question regarding this "love of evil" in such as way as to suggest that the widely-held and supposedly "reasonable" faith in human benevolence is in fact as reasonable as believing in "infernal influence" as the cause of crimes "dreadful and repugnant to nature": Either we must suppose that the love of evil is born with us (which would be an insult to the Deity), or we must attribute [such crimes] (as appears more consonant with reason) to the suggestions of infernal influence.

F[o]x" (1806),8 in which the radical leader is lampooned, indicate that Dacre was politically conservative. We also know that her husband Nicholas Byrne, who was mysteriously murdered in his office in 1833, was "a zealous Pittite,"9 and we can presume Dacre shared her husband's support of Pitt's politics, given that they named their son William Pitt Byrne. Moreover, passages in The Passions clearly and violently attack radical feminists such as Wollstonecraft, suggesting Dacre was anti-feminist; yet she also wrote a poem "To the Shade of Mary Robinson" celebrating the memory of that outspoken republican feminist and Della Cruscan poet (see Appendix C).

Kari Lokke and John Logan have been enthusiastic fans of Dacre from the start, and have proved a tremendous source of support. Jerome McGann's enthusiasm for Dacre's work encouraged me to pursue the project. Randy Lewis came to the rescue on more than one occasion. Nan and Bruce Parker have always been a tremendous source of support, and Louise Millar and Andy Sievewright often provided me with a place to stay and with good company while I worked in the British Library. Thanks also to Rosanne Richardson for expert typing at short notice.

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