Essay that I forgot the title to

In The Bloody Chamber, it can easily be argued that women are presented as 'trembling victims' at the mercy of 'predatory males'. This can be seen through the presentation of the characters in this story, as both seem to have and follow traditional gothic conventions within their personas, such as weak willed and naïve females (an example of this being Mina from the novel Dracula) and controlling and powerful males (which can be seen in novels such as Wuthering Heights, with the character Heathcliff.) However this is easily challenged by Carters unique presentation and paradox's posed by her characters, perhaps suggesting Carters aim was specifically to challenge the conventions set by original gothic literature.








The narrator of the Bloody chamber can be seen to be a 'trembling victim' due to her young age and her obvious naivety. The narrator refers to her own life before marriage as 'innocent and confined,' suggesting that she had little experience in the world outside her own, adding to her childish innocence. This is strengthened by the quote, 'I was seventeen and knew nothing of the world,' as it also signifies one of her weaknesses, in that she has no knowledge and so can easily be taken advantage of, making her a 'trembling victim'.
The physical characteristics of the narrator also contribute to her being seen as a 'trembling victim,' her small body and typical feminine gothic attributes such as her 'young girls pointed breasts,' link strongly with the idea of fragility and weakness. She is described as 'the frail child,' within her dress and this creates the image of both a physically and mentally inferior or 'trembling,' character, as the reader regards her as immature and childless, thus easy to exert power and dominance over.
 Another way in which the female protagonist can be seen to be a 'trembling victim,' similar to those in the original gothic is displayed through her being a possession of the Marquis rather than his wife. An example of this is when he bestows her his wedding gift, 'a choker of rubies,' that 'clasped around my throat,' symbolising not only her fate, but also his ownership over her, as it could represent a collar to show ownerships over a pet. The narrator also states that the a servant smiled when he saw the choker as it provided him with proof that 'I was his masters,' again adding to the idea that she is owned by her husband and so at the mercy of his actions and decisions, contributing to her portrayal as a 'trembling victim.'
It is also clear that the narrator feels trapped and at times victimised by her new marriage, shown through the 'sharp premonition of dread,' that she feels at some of the Marquis advances, and that she states herself to 'always be lonely,' feeling she is exiled from her own world, show by the quotation 'into marriage, into exile,' implying she is trapped and must deal with the Marquis alone, loneliness being a key theme linked with the female victims in original gothic as it signifies that there is no one else to assist her in danger. The dread she feels at the Marquis is indicative of the limited power she has to stop him doing whatever it is he desires, and also illustrates that she does not want his desire forced upon her, meaning she is the 'victim.'











However, it can also be seen that Carter has gone against the conventions of original gothic literature and has depicted her main female protagonist as not a 'trembling victim,' but perhaps a knowledgeable and developing character. This is shown by her gaining information that was intentionally hidden from her, 'I took the forbidden key,' shows her growing defiance towards the demands of her husbands and also indicates that she knew the act she was about to commit would be disobeying her husband, yet she chooses to anyway. Toward the end of the story, the narrator seems to have gained strength and control over her own situation perhaps due to her 'tainted innocence', and she now differs greatly from her earlier personality of the 'trembling victim.' Phrases like, 'fear gave me strength,' and 'I flung back my head defiantly,' show her newfound strength and bravery, which seemingly appears after the loss of her virginity, perhaps symbolising a rebirth of wisdom as she is no longer clueless about the world of marriage and men, due to this she is no longer represented as the 'trembling victim' and contrasts with the typical constraints of the original gothic.
The narrator can also be seen as more of a seductive character than a 'trembling victim,' challenging the original perspective. When the Marquis returns and she is aware of the danger she is in, she states that 'I forced myself to be seductive,' indicating that she now understands his feelings of desire and is aware of new ways to manipulate him, by acting in a seductive/sexual fashion. She then goes on to state that 'he almost failed to resist me,' suggesting that she had become skilled as the seduction act and thus is no longer a 'victim' as she has now gained some power of her own. She also takes on the role of traditional gothic seductress (opposite of the disempowered 'trembling victim') as she shows violent traits when she states, 'if he had come to bed, I would have strangled him,' showing her obvious 'potentiality for corruption,' that she sensed earlier in herself. This could contribute to the argument that she is more of a seductress than a 'trembling victim' as her intended actions are more similar to the common 'femme fatales' seen in original gothic.
A final point that argues women are not presented as 'trembling victims' within The Bloody Chamber is the presentation of the mother figure. She is described as 'eagle featured, indomitable Mother,' who had once before 'shot a man eating tiger with her own hand.' She is recognised by the narrator and thus the readership as a warrior like figure of immense strength and bravery as she comes to her daughters rescue and kills the Marquis, which is contradictory not only to the original Bluebeard tale, (where the damsel is saved by her gang of  heroic brothers) but also to the generic gothic forms which depict women as powerless and simple-minded.




Within this story, there is certainly a clear presentation of men as 'predatory,' common to the original gothic, displayed most distinctly by the Marquis, the male character who pursues the female protagonist. The description of his characteristics and personality attributes to this. His head shape is described as 'leonine,' which males him seem bestial and threatening, and his 'carnal avarice,' directed towards her depicts him as predatory, due to the harsh yet sexual nature of his glances towards her. Also significant to this point is his ambiguous statement or quote from Little Red Riding Hood, 'all the better to see you,' likening himself to the predatory character of the wolf within the tale, indicating his avaricious and rapacious intentions towards his new bride. The narrator displays fear when faced with his 'strange, heavy, almost waxen face,' which portrays his as unnatural and different instilling fear. The narrator shows reluctance and great anxiety when he 'ran his tongue over his red lips,' as this threatening and 'predatory' motion has connotations of blood and sexual violence, suggesting harm may come to her through his advances.
The Marquis is also displayed as a 'predatory male,' through his age, him being 'much older,' and the way that he treats her much more like a possession than he does a wife, signified by the way he makes his wife 'put on the choker,' which can be seen to act as a means of control over her. Predators are named so as they 'feed' off of those who are weaker and lower that them, which is an easily recognised metaphor for the relationship between the Marquis and his bride. He is older, bigger, more experienced, and more socially powerful than her which arguably makes him the predator and his bride the selected prey.
The fact that the Marquis has had previous wives, or prey, adds to the idea of him being a 'predatory male,' as he has already been married 3 times previously to the narrator who has been 'invited to join his gallery of beautiful women,' heavily suggesting that he had a certain type of prey, i.e. beautiful women, this is typical as 'predatory males' in original gothic generally pursued women like this. Adding to this point is the use of the 'choker of rubies,' that 'every bride that came to the castle wore,' indicating his predatory hold over all women that he has had relationships with.


However, a strong point that argues against Carter using the conventional character of the gothic 'predatory male,' is that at some points within the text the Marquis is shown to be kind or 'tender' towards his bride. An example of this

Improved responses


'The Erl King is the most innovative and experimental of the narratives'


Response 1:
The Erl King can be seen to be innovative as it contains elements that generic gothic tales do not, such as domesticated and seemingly immature men. However, it does follow some gothic conventions as it contains a powerful male and vulnerable female in an isolated setting. Compared with the other narratives of the Bloody Chamber, this narrative too changed perspectives to jumble the narrative and also shows a woman gaining some knowledge over the one who controls her, allowing her to be saved from him as he usually dies, proving it us not innovative as it shares strong links with the other narratives.


Response 2:
The Erl King can be seen as innovative compared with the other stories within the collection as it contains elements that the generic and un-experimental narratives do not. Such as the domesticated man, this could easily be seen as a different and experimental figure for the gothic genre as it is generally and traditionally the woman who plays this role. However, The Erl king could as well be seen as un-original and similar to the other narratives as it does still seem to follow some traditional trends set by gothic literature. This can be seen through the powerful and enchanting male, taking control over as seemingly vulnerable and naïve female within the strange and isolated setting. Despite this, compared with other Bloody Chamber narratives, it seems to be more jumbled in terms of its perspectives and shifting tenses, allowing the reader to experience heightened emotion along with the narrator. This 'blurring' of the tenses could be regarded as experimental as Gothic Narratives are traditionally told through 1st person narrative, allowing for greater understanding and description.

Bettelheim Questions


1. Bettelheim's ideas help us to understand the purpose of fairy tales as they relate to us the fact that all characters and people have a certain 'dark side' within them capable of committing unagreeable acts, but this is seen as acceptable as they are generally good people. This can be seen in Cinderella when she disobeys her stepmother and sneaks out to go to the ball to meet her Prince Charming, however this behaviour is not scorned by the reader as Cinderella is the Heroine of the story, and thus the reader wishes to see her endeavours succeed.


2. Bettelheim's ideas help us to understand the purposes of gothic as it indicates to us that it enables children to acquire a firmer grip on problems in their purer form, as the tales and problems presented are often simple and therefore easily dissected by children. As explained by Bettelheim, in typical gothic literature, the villains and their acts are plain and obvious and all details unless they are significant are eliminated for easier understanding. The immense polarities between the characters and their characteristics displayed by gothic enables the child to male choices about who he would rather be, and they make personal identifications of their own.


3. Carter blatantly mixes fairy tale and gothic genres within the Bloody Chamber to display, as Bettelheim mentions, the obvious villains and heroines as they are easily seen throughout the plots of Carters stories. However the gothic elements added help to bring an element of more grown up themes such as oppressive male dominance, sex, seduction and the loss of innocence, the gaining of knowledge and secrets. These are arguably all elements seen subconsciously within fairy tales and so Carter has both genres so that we as readers can see more sinister elements to the tales we were told as children from a more sinister point of view, perhaps changing our opinion of them.,

The Bloody Chamber - The Tigers Bride, Task 3


1. 'The Devils Picture Books' refers to the cards held by the payers during their game. They are made to be objects of evil, as they often lead to people gambling and losing their money, which is referred to in the bible as 'The root of all evil,'
2. When the heroine calls the Beast, 'Milord,' the language used is seemingly old fashioned and comes across to the reader as mocking and sarcastic. This signifies the pride and wit of this female protagonist, as it is uncommon for women to mock men of such high status
3. White roses are often associated with romance, and also purity and virginity due to the colour. It is first mentioned in the previous story, 'The Courtship of Mr Lyon,' as is here shown to be a gift for the Fathers 'girl child,' signifying his love for her. Within this story, the roses are used more than once. Firstly, they are given as a gift to the narrator form the Beast, seemingly as some sort of gift, to 'reconcile' any hurt emotions she may feel at being lost to the Beast by her Father. They are then used shortly afterwards as a symbol of a forgiveness from the narrator to her own father, to say that she has forgiven his misdeeds. However, when she hands over the rose which has been bloodied from her pricked finger, this symbolises the brokenness of the apology, and will act as a reminder to the father of his actions as the rose is now stained and tainted, never to be the same, much like the narrators feelings for her father.
4. The verb choice of 'fleeced' suggests that they were 'swindled' out of a great deal of money, as they were overcharged and taken advantage of by the people of their new town. However, 'fleeced' also suggests that they were covered with a material, perhaps made blind and were not allowed to see the truth.
5. 'Gobble you up' is a line from another common fairy tale 'Three Billy Goats gruff' where a troll is trying to eat 3 billy goats as they cross the bridge trying to escape with their lives, they trick the troll, and in the end the troll is killed. Within this story, it could be said to have connotations of rape or assault, and is used as a threat to the narrator, suggesting that something sinister awaits her.
6. We are told that the Beast 'bought solitude, not luxury,' which tells us that the Beast thinks little of material possessions and appearances, and we can also see that the inhabitants of his home seem happy enough without the luxury, as the horse 'trotted' into the great hall. This suggests that the Beast is searching for something more than wealth to bring him happiness, perhaps a woman like he has summoned.
7. The phrase 'where the fruit and blossom grew on the bough together' is significant as it suggests the Beasts strong belief of nature and humans coinciding peacefully. It also suggests he feels as though animals should be treated as equals, showing that he has clearly been mistreated due to his animalistic nature and wishes he would be treated similarly to other humans even though he is not one.
8. The description of the soubrette machine suggests to the reader that the Beast does not like to have many human servants around, similarly to Mr Lyon from the previous tale, as it reminds him of his inhuman self. The Soubrette seems also to be a perfect image of femininity, and also is described to look the same as the narrator, which could tell of the Beasts pleasure of the female which may be why he wishes to see the heroine naked.
9. The narrator compares herself to animals as she states that she 'wished she had rolled in ray' so that she could be alike to animals in the way that they do not have to endure humiliating rituals such as this one. She also later goes on to say that she 'larruped and harrumphed' on her way to the stables, likening herself to a horse, perhaps suggesting her desire to be free and wild instead of confined to the Beasts home.
10. The phrase 'The tiger will never lie down with the lamb; he acknowledges no pact that is not reciprocal’ suggests that even though this being is a Beast, he would not bring harm to her as it was never his or her wish.

The Bloody Chamber-The Tigers Bride, Task 1&2



Andrea Mantegna-( 1431 – September 13, 1506) was an Italian painter, a student of Roman archaeology, and son in law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g., by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500.

Guilio Romana-
(1499 – 1 November 1546) was an Italian painter and architect. A pupil of Raphael, his stylistic deviations from high Renaissance classicism help define the 16th-century style known as Mannerism. Giulio's drawings have long been treasured by collectors; contemporary prints of them engraved by Marc Antonio Raimondi were a significant contribution to the spread of 16th-century Italian style throughout Europe.

Benvenuto Cellini-
3 November 1500 – 13 February 1571) was an Italian goldsmith, sculptor, draftsman, soldier and musician, who also wrote a famous autobiography. He was one of the most important artists of Mannerism.
  His first works in Rome were a silver casket, silver candlesticks, and a vase for the bishop of Salamanca, which won him the approval of Pope Clement VII.

Glossary


assuage- make (an unpleasant feeling) less intense, or to satisfy an appetite or desire.

awry- away from the usual or expected course, or out of the normal and correct position; askew.

axium- a statement or proposition which is regarded as being established, accepted, or self-evidently true.

capisco- 'I understand'

ciliate- a single-celled animal of a large and diverse phylum distinguished by the possession of cilia or ciliary structures.

civet- a slender nocturnal carnivorous mammal with a barred and spotted coat and well-developed anal scent glands, native to Africa and Asia.

desnuda- naked.

excoriate- damage or remove part of the surface of (the skin), or to criticize someone severely.

expostulate- express strong disapproval or disagreement.

eyrie- a large nest of an eagle or other bird of prey, built high in a tree or on a cliff.

gavotte- originated as a French folk dance, taking its name from the Gavot people of the Pays de Gap region of Dauphiné, where the dance originated. It is notated in 4/4 or 2/2 time and is of moderate tempo.

gracile- attractively slender or thin.

megalomaniac- a psychopathological condition characterized by delusional fantasies of power, relevance, omnipotence, and by inflated self-esteem.

 metaphysical- Referring to metaphysics, is a traditional branch of philosophy concerned with explaining the fundamental nature of being and the world that encompasses it.

minuet- a slow, stately ballroom dance for two in triple time, popular especially in the 18th century.

molto agitato- agitated, or restless.

nascent- just coming into existence and beginning to display signs of future potential.

obsequiousness - marked by or exhibiting a fawning attentiveness.

ostler- a man employed to look after the horses of people staying at an inn.

patina- a green or brown film on the surface of bronze or similar metals, produced by oxidation over a long period.

preternatural- beyond what is normal or natural.

profligate- recklessly extravagant or wasteful in the use of resources, or licentious; dissolute.



settecento- seven hundred.


shagreen-

sharkskin used as a decorative material or, due to its natural rough surface of pointed scales, as an abrasive, or a kind of untanned leather with a rough granulated surface.

simian simulacra- is a 1981 philosophical treatise by Jean Baudrillard seeking to interrogate the relationships among reality, symbols, and society.

soubrette- a minor female role in a comedy, typically that of a pert maidservant.

spar- a thick, strong pole such as is used for a mast or yard on a ship.

spurious- not being what it purports to be; false or fake, or (of a line of reasoning) apparently but not actually valid, (of offspring) illegitimate.
tantivy-

rapid gallop or ride, or a hunting cry.

tintinnabulation- a ringing or tinkling sound.

The Bloody Chamber - The Courtship of Mr Lyon

1. The word 'Courtship' refers to a period in which is before their decided engagement or marriage. It is a more traditional word for dating, it refers to a time when sexual behaviour before marriage was deeply frowned upon, and there were certain rules that had to be followed within the partnership, in order to keep an element of innocence before marriage. Carter may have chosen the word 'Courtship' instead of 'dating' or something similar as this word implies that there may have been a gentleness about this time, and that a great deal of morality remained between this couple during this period. From the story, we can see that Mr Lyon does act as a male figure in an old fashioned courtship would do, by expressing his love by only 'kissing her hands,' he retains a gentlemanly aspect to his character. My Lyons behaviour is arguably more appropriate of the title Courtship than it would be of any other word, such as 'affair' or 'dating' as these words bring with them an implication of sexual behaviour, which is not true of the story.

2. In the opening paragraph, the girl is described as 'lovely' and her skin 'possesses light' and she could be 'made of snow'. The obvious link to the colour white could be seen to signify her purity and virginity, while the word 'snow' could have connotations of the girls delicate or fragile appearance.
The reference to her 'inner light' implies to the reader that she had a good heart or morals, and suggests she is kind. This is developed later in the plot as she becomes rich and spoiled after leaving the beast, she is now described as 'petulant' as her earlier 'freshness was fading'. Her skin, described earlier as possessing 'light,' is now described as 'pearly', suggesting the tone of it now had an opacity to it, meaning she may be trying to cover or hide some things as her nature is no longer transparent to reveal her obvious goodness, indicating she is no longer as pure or kind as she was when she lived in poverty.

3. The description of the girls father shows his poverty and indicates how little money he has. This can be seen when we are told of his 'old sheepskin coat,' which is later described as 'squirearchal'  which refers to the class of the landed gentry, in aristocratic times suggesting that once he was a fairly wealthy man. The way the father talks about his daughter shows patriarchy and possessiveness, for example, he calls her 'his girl-child, his pet.' Both terms could be seen as somewhat derogatory, but the repetition of the word 'his' shows that she is owned by her father, and is his property. Her father is also described as having 'no fear', when he first enters into the Beasts domain, this could be as he is brave and is showing strength by trying t find a way to contact his daughter, or it could be because he secretly knows that he will not be the one the Beast seeks thus he will not be in any direct danger.

4. The Beast within this story is described a number of times, each time some aspect of his appearance seems to have changed. The first description of him is given when he intercepts Beauty's father trying to steal a rose from his garden. He is described as a 'being', and later in the same description as a 'leonine apparition,' this immediately gives the reader a sense that the Beast is neither a man, yet not quite an animal either. This adds an unnerving element to his character as he does not fit into either category, meaning he is of the unknown. This first description also features a lot of the letter 'G', which adds emphasis and rhythm to the reading of the passage, 'the moonlight glittered on his great, mazy head of hair, on the eyes green as agate, on the golden hairs of the great paws that grasped his shoulders...,' The repetition of the word 'great' within this description also emphasises the majesty and the size of the Beast. However, this description is not entirely terrifying, while the Beast is shown to be a powerful and dangerous, the human features such as his 'mazy head of hair,' and his 'green as agate,' eyes help the reader to almost connect to the character more, as there are clearly still human like aspects to the Beast.

5.  Mr Lyons property is described luxuriously, giving an obvious indication of excessive wealth and power. When it is first seen by Beauty's father, it is called a 'perfect, Palladian house,' and the language in the descriptive passage concerning the property seems to be quite feminine, with words such as 'skirts, 'flourish,' 'grace,' and 'sweet,' suggesting that perhaps the Beast made it this way as he yearns for partnership from a woman and wishes to make his home inviting for them. However, the description is also very Gothic, as it has key characteristics of Gothic architecture such as the 'wrought iron gates,' and its 'melancholy grace,' and also the 'light that flickered,' giving the reader a feel of tension and mystery, as it becomes obvious from the way that the house seems to 'hide itself,' foreshadows that the owner of the house may not be all he seems.

6.The Courtship of Mr Lyon is narrated mainly in the most common style of 3rd person, this is generally used by authors as it provides the most freedom and flexibility within their story telling. We can see the 3rd person narrative as the characters within are generally referred to as 'she' or 'he'. This signals that the narration is done by an unspecified entity who is perhaps uninvolved in the plot.  However, there are some instances in the story where the narration style switches suddenly, where it can be seen to convey the thoughts of a character. For example, in the opening Beauty is in the kitchen and the narrative is still in 3rd person as it states that 'the telephone wires were down, he couldn't have called,' before making a sudden switch to 1st person narrative, with what the reader may interpret as Beauty's thoughts, 'I hope he'll be safe.' Though these seem to be a characters words or thoughts, the reader cannot be 100% sure, which leaves the story open to more questioning as mystery and tension is added.

Task 1
Leonine- adjective to describe something with characteristics of a lion.
Fugue- a musical composition where the melody is first introduced by one part and then successively introduced by others.
Or a referral to someone losing their identity, often linked with removal from the persons usual environment. Also linked with hysteria and epilepsy.
Rococo- furniture or architecture made distinctive by elaborate ornamental baroque style of decoration, prevalent in 18th century Europe. Often involves asymmetrical pattern work with motifs and scroll work.
Minimalist- someone who practices minimalism. Minimalism is a movement which arose in the 1950's and is characterised by its use of simple, massive forms, with deliberate lack of decoration in its style and design.
Chamber Music- is a form of classical music with an intimate nature, composed to be played by a small group of people that would fit in a palace chamber.
Florid- can refer to someone having a red/flushed face. Or it can refer to the elaborateness or intricateness of something's design.


Task 2
Angela Carter

• 
  
• •Carter was born on 7h May 1940,  and died 16th February 1992. She was born Eastbourne, she also lived in places such as Yorkshire, South London, Bristol, Japan, United States, and Europe.
   •She can be seen to be linked with Jane Eyre as Carter had the idea to write a novel based on the character Jane Eyre's stepdaughter Adele, where she would try to seduce her guardian Rochester and see her mother be gluttonized.
   •Carter is considered a unique writer, falling into a cross section of genres, such as magic, realism, fantasy, science fiction, Gothic, and surrealism.
   •She was ranked 10th in The Times list of the 50 greatest writers since 1945.
   •Her influences included Defoe, Blake, Swift, Poe, Carroll, Melville, Shelley, the French symbolists, the surrealist, Barthes, Borges and Calvino.

Task 3

Charles Perrault and the Brothers Grimm tales

• Charles Perrault was born on January 12th 1628, and died May 16th 1703.
• He is famous for inventing a balloting machine for electing new members to the French Academy of which he was a member.
• His most famous book was Cinderella.
• Cinderella was published in 1697 in Paris.
• His works were derived from pre-existing folk tales, and he published 8 fairy tales under one book title named, 'Tales of Mother Goose'
• The Grimm brothers published around 211 tales and they were published in Germany.
• They were said to have been greatly influenced by Perrault.

Task 4
Baudelaire Research

• Charles Baudelaire was born on April 9th 1821 and he died on August 31st 1867.
• He lived in France and worked for a newspaper, though he had little interest in this.
• He was seen as different to his fellow romanticism poets as his style had 'created a brand of romanticism that hinged on sex, death, and the pleasures of the senses' which was unlike other romanticism work.
• He could also be seen to be similar to other romantic poets as he shares the macabre and supernatural approach shared by many poets of this genre.
• His most famous work was 'Les Fleurs du mal' (The Flowers of Evil), expresses the changing nature of beauty in modern, it was published in Paris.
• The strong themes of sex, death and the prominent use of the senses has been called both 'putrid' (by Habas) and 'unyielding,' by Flaubert.
• Baudelaire supposedly contracted syphilis whilst at a military boarding school, and he also spent a lot of his inheritance money on opium and marijuana.

Task 5
Marquis de Sade

• Marquis de Sade wrote many books, such as Juliette, Justine, The Crimes of Love, The Philosophy of the bedroom, and The 120 days of Sodom.
• He considered himself of 'Libertine Sexuality' meaning that he thought himself free of moral restraints, which are seen to be unnecessary and undesirable. People of libertine philosophy tended to place more value in the pleasuring of the senses.

The Bloody Chamber- AO4 Inter-textual refernces

Myth of Bluebeard/Perraults Tale - The original tale acted as a basis for Carters novel, and still shares many of the same features. In the original tale, Bluebeard is a villain who has married several times, yet each of his wives have mysteriously dissapeared. He remarries yet again and gives his new bride keys to all the rooms in his castle, however she is not to go into one room. While he is away, the brides curiosity overwhelms her, and she disobeys him by entering the forbidden room. Here she finds the bodies of all his dead former wives, thus uncovering the truth about her husband. Bluebeard returns and states she must die, and prepares her for death, but she is saved by her brothers.

Mark of Cain -  The Mark of Cain refers to a tale from the bible regarding the Sons of Adam and Eve, Cain and Abel. Cain killed his brother Abel, and God then placed a 'mark' on Cain to signify to others that killing Cain would invoke the wrath of God, as God wanted Cain to live a long life, to remind people of the shame that killing another brings upon yourself. The mark acted as a warning to others not to commit the same offence. This can be related to the Bloody Chamber as it is arguably similar to the mark that is placed on the heroines forehead, after her husband presses the blood stained key against it. She goes on to say that the mark can never be removed, or covered and thus remains a symbol of her shame for marrying the Marquis.

Catherine de Medici - Catherine de Medici was an Italian born French Queen, who was regent and mother to three Kings of Spain. She was an influential figure in 16th century France, particularly during the wars of religion. She is mentioned in the Carters novel, when the heroine of the book is talking of the ring given to her by the Marquis. She says, 'but this opal had been his own mothers ring, and his grandmothers, and her mothers before that, given to an ancestor by Catherine de Medici.' This indicates at the great wealth shown by the Marquis, as his family has links to French royalty. There can also be a link seen between the two women themselves, which may be the reason Carter chose Medici to be mentioned in the first place. They were both married off at young ages, and both to dishonest and unagreeable men. And both were thrust into great responsibility with the death of their husbands. Medici was launched to a political stage, and made to regent her 3 sons to be rulers of the country, and the heroine in the Bloody Chamber inherits all the Marquis land and power, and decides to open and run a school.

Croesus - King Croesus was the leader of Lydia from 560 to 547 BC, before he was defeated by the Persians. The term 'Rich as Croesus' stems from legends of his wealth. This phrase is also used in the Bloody Chamber, our heroine states that the Marquis was in fact 'as rich as Croesus' indicating the wealth and power possessed by her husband.

Tristan und Isolde - Tristan und Isolde is an Opera by Richard Wagner, based largely on the romance created by Gottfried von Strasburg. It tells the story of a tragic and adulterous love between the Cornish Knight Tristan and the Irish Princess Isolde. The story predates and most likely influenced the idea of Romantic Love and literature, as it first appeared in the 12th Century. Carter uses this opera throughout her novel to act as a foil and basis for the development of the story. Also, one of the Marquis former wives had played the role of Isolde in the opera. Isolde dies, thus this piece of information hints at what happened to this former wife.

Felicien Rops - Rops was a Belgian artist, noted particularly for his work in printmaking, etching and aquatint. His work primarily showed images of a sexual nature, often a nude woman being examined by a suited man, this indicated weakness and vulnerability among women, while they remain the object of attention or action. His work is mentioned in Carters book, as the heroine describes the act of the Marquis undressing her as 'the living image of an etching by Rops from the collection he had shown me...' This act shows the degradation of the heroine, Rops imagery is used to draw attention to the inequality present between men and women and show how men seem to still operate women universally.

Rape of the Sabine Women - This is an episode which occurred in ancient Rome, which dates traditionally back to around 750BC. The term 'rape' in this case means abduction, rather than its more modern meaning of sexual violation. This episode involved a group of Romans trying to acquire wives for themselves to found families, and after trying (unsuccessfully) to negotiate with the neighbouring tribes of the Sabines, took the women for themselves, with the intention of marrying them and conceiving children. This relates to Carter novel, as one of the pictures noticed by the heroine within the Marquis pornography is an interpretation of this event. Indicating the Marquis perverted love of acts of sexual violence and his devotion to the pursuit of senuous pleasure.

St Cecilia - Saint Cecilia was a famous Roman martyr and also the Patroness of Musicians. She is relevant to the Bloody Chamber, as a portrait of her hangs in the music room, and it is given as a gift to the heroine. This hints at our heroines intended fate, as Cecilia was killed, officials tried to decapitate her 3 times, which is a similar death to the one the Marquis has in mind for his new bride. She also bears another similarity to the heroine of the bloody chamber, as while she was dying she requested that her home be made into a church, whereas after the death of her husband, the heroine transforms his castle into a school for the blind.

Pandoras Box - Pandoras box is an artefact from greek mythology. It comes from the tale of Pandora, the first woman ever created. She is given a beautiful jar on her wedding day but is told not to open it under any circumstances. Her curiosity (bestowed upon her by the Gods) implores her to open it, and by doing so she unleashes all evil into the world. However, Zeus, her creator, does not kill her as he states he knew what would happen. This bears similarity to the acts committed by the heroine of Carters novel, as she is told not to open the door to one room (the box) but she has been shown the key by her husband (curiosity bestowed upon her.) 

Poiret - Paul Poiret, was a leading French fashion designer, during the first two decades of the 20th century. The wardrobe that the Heroine is given is full of clothes from Poiret, again indicating the wealth the Marquis must possess in order to be able to buy these kind of clothes. 

ESSENTIAL VOCABULARY

Aesthete - a person who is appreciative of and sensitive to art and beauty.

Aigrette - a tufted crest or head-plumes of the egret, used for adorning a headdress.

Avarice -extreme greed for wealth or material gain.

Baroque - a period of artistic style that used exaggerated motion and easily interpreted data to produce tension and drama.

Bier - is a stand on which a corpse or coffin is placed to lie in state or to be carried to the grave.

Billets-Doux - a love letter.

Carillon - a musical instrument which is typically housed in a bell tower.

Carnal - relates to physical, primarily sexual needs,

Catafalque - is a raised bier.

Chthonic - deities or spirits of the underworld.

Dolorous - feeling or expressing great sorrow or distress.

Eldritch - describes something alien, unearthly or supernatural.

Enfer - hell.

Gourmand - a person who takes great pleasure in food.

Immolated - kill or offer as a sacrifice.

Importunate - persistence to the point of annoyance.

Interdiction - act of delaying, or disruption.

Jinn - supernatural creatures in Islamic mythology.

Lisle - type of cotton fabric.

Loge - a private box in a theatre.

Loquacity - talkativeness.

Lustratory - pertaining to lustration.

Missal - is a liturgical book containing instructions and necessary texts for the celebration of mass.

Nacreous - possessing the qualities of, or abounding in nacre; iridescent.

Parure - a set of various items of matching jewelry.

Rictus - a fixed grimace or a grin.

Sacerdotal - a doctrine which ascribes sacrificial functions and spiritual powers ordained by priests.

Sadomasochistic - giving or receiving of pleasure, sometimes sexual.

Sardonic - bitter or scornful derision, cynical mocking.

Trousseau - clothes, linen, and other belongings collected by a bride before her wedding.

Vellum - fine parchment made form calf skin,

Vicuna - a wild llama.

Viscera - internal organs in the main cavities of the body, i.e the intestines.

Voluptuary - a person devoted to luxury and sensual pleasure.

Basic Quesions

1. Carter presents the ruby choker as a means of control, the quote 'clasped aorund my throat,' personifies the necklace, and gives the effect of human hands around her neck, indicating how he feels he must control his bride. The description of its colour, as 'bright as arterial blood' links it with the prominent theme of death foreshadowed by this necklace, as the reader later learns that he intends to execute her, this is again reinforced by the notion that the necklace looks like a 'precious slit throat'. It is also described as 'cruel,' showing it is perhaps harsh in appearance, but also that it may be a taunt, of what is intended to happen to her.

2. The fact that the narrator describes herself as in 'exile' once married suggests that even though she has now gained a husband, she is still alone. She states that she knew she would 'always be lonely' for perhaps she feels that though she loves her husband, they are different and she does not truly connect with him. Also, that the new world she would enter in marriage would be completely the opposite of what she had experienced in the life she lived with her mother.

3. The narrator gains confidence again once more after she uses her newly found power over the housekeeper, when she instructs them to cancel the decadent feast she had ordered. She is empowered by her new status, and has the confidence to say that she knew she had displeased them, but she 'did not care,' showing she now feels a degree of importance about herself, and now ranks herself above where she would've done before her marriage to the Marquis.

4. The usual 'hero' structure is altered at the end of this book as instead of a strong male character coming to the rescue of the narrator, it is her mother instead. The mother shows courage, and also a hint of masculinity when she rides, with her 'black skirts' and the way she is described as a 'crazy, magnificent horsewoman,' She has replaced the traditional role of the male rescuer, thus empowering the female characters within the story.

5. The Dukes view of women is derogatory, as he clearly sees them as nothing but objects of lust and desire. This can be seen by the language he uses, such as 'whore' when referring to his bride. And also the way he talks to his wife in a condescending manner, calling her 'baby' and 'little nun' when she finds his pornography, this shows that he looks down upon women, and feels them unintelligent.

Developed Questions

1. The description of the couples first sexual encounter, when he strips her as if  'he was stripping the leaves of an artichoke' suggests that he was brutal in the way he touched her, with little gentleness about him. She describes herself as 'scarlet,' and 'palpitating' during the encounter, which indicates that she was red and flushed from the embarrassment of the act, but also was feeling urges of desire. Thus the encounter can be seen to be pornographic, and uncomfortable yet erotic.

2. The language used to describe the discovered painting of Moreau's 'Sacrificial Virgin' suggests that it was very detailed, as the word 'great' indicates time and effort went into the creation. The use of the phrase 'lacelike chains' clasping the lady's skin present the image of a beautiful prisoner, and the 'blush' that robed the lady acts as an indication to the embarrassment she felt at taking off her clothes for the first time, similarly to the narrator, which is what this painting symbolises.

3. The colours used by Carter all have an intended effect, for example the use of the words 'brown and olive' indicate the ages of the volumes surrounding her, suggesting wealth and power. The colour of the rugs, a 'deep pulsing blue' and 'red of the hearts dearest blood' are seemingly rich and powerful colours, perhaps indicating the expensive and tasteful decor of the room, again indicating wealth. And lastly, the 'dark' panels that 'gleamed' indicate that there is evil within, but the fact that they gleam shows this room is well looked after and obviously regularly visited by the Marquis.

4. The phrase 'All the better to see you' is used by the husband when he is discussing his want to have sex in the bright light of day,this phrase is from the tale of little red riding hood, and is a quote from the wolf when he is pretending to be the child's grandmother. This quote helps to make the Marquis seem even more sinister, as the wolf was a villain who tried to kill the little girl in the tale.

5. Carters intertextual references allow the reader to see lots of symbolism throughout, for example, the use of the opera Tristan und Isolde suggests to the reader from the start that the marriage is doomed, and will presumably end in death. Carters elaborate style of language is very effective as it  allows the reader to gain immense detail from any descriptions, creating dramatic imagery and intensifying the read.

Importance of Appearance

 

In The Bloody Chamber, both looks and clothing play an important part. How someone is described to look represents their characteristics and personality. For example, the Marquis is described as Leonine, suggesting he is beast-like, with no respect or concious perhaps, explaining why he is able to commit such acts as he does without feeling remorse. The narrator, more than once describes herself as a child, 'frail,' and 'young' which hints at the apparent naivety she has about her, and could also indicate how unprepared she is for her married life to begin. The heroine of the story often describes the clothes she wears also, her wardrobe full of 'Poiret' clothing acts as a status symbol, showing her now (thanks to the marriage) elevated social position. And also some of the clothes she wears which attract the attention and looks of lust from the Marquis, such as the tight white muslin dress which is drawn in tight around her chest. While the white colour signifies her purity and virginity before their marriage, its tight fit emphasises her 'potential for corruption' indicating and foreshadowing the loss of her virginity.

Magic Realism

Magic Realism refers to a genre in which magical elements are a natural part in an otherwise mundane and realistic reality. It is commonly used as a literary genre. Examples of this can be seen in books such as One Hundred Years of Solitude, by Gabriel Garcia Marquez, where characters within the plot have unrealistic capabilities, such as vast physical strength, or great focus of the mind.