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In Russia, the writer Alexander Belyaev popularized these themes in his story Professor Dowell's Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue, and which was first published as a magazine serial before being turned into a novel. One writer who specialized in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty. For example, Gaston Leroux serialized his Le Fantôme de l'Opéra before it became a novel in 1910.
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20th century Ī proliferation of cheap periodicals around turn of the century led to a boom in horror writing. Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage and screen. Wells' The Invisible Man (1897), and Bram Stoker's Dracula (1897). Loudon's The Mummy!: Or a Tale of the Twenty-Second Century (1827), Victor Hugo's The Hunchback of Notre Dame (1831), Thomas Peckett Prest's Varney the Vampire (1847), the works of Edgar Allan Poe, the works of Sheridan Le Fanu, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde's The Picture of Dorian Gray (1890), H. Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm's " Hänsel und Gretel" (1812), Mary Shelley's Frankenstein (1818), John Polidori's " The Vampyre" (1819), Charles Maturin's Melmoth the Wanderer (1820), Washington Irving's " The Legend of Sleepy Hollow" (1820), Jane C. The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century. Mary Shelley by Richard Rothwell (1840–41) A significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle. Otranto inspired Vathek (1786) by William Beckford, A Sicilian Romance (1790), The Mysteries of Udolpho (1794) and The Italian (1796) by Ann Radcliffe and The Monk (1797) by Matthew Lewis.
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Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste but it proved immediately popular. In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator. It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole's seminal and controversial 1764 novel, The Castle of Otranto. The 18th century saw the gradual development of Romanticism and the Gothic horror genre. Horace Walpole wrote the first Gothic novel, The Castle of Otranto (1764), initiating a new literary genre. One of Marie de France's twelve lais is a werewolf story titled " Bisclavret". Werewolf stories were popular in medieval French literature. Įlements of the horror genre also occur in Biblical texts, notably in the Book of Revelation. The figure disappeared in the courtyard the following day, the magistrates dug in the courtyard and found an unmarked grave. While writing a book on philosophy, he was visited by a ghostly figure bound in chains. Athenodorus was cautious since the house seemed inexpensive.
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113) tells the tale of Athenodorus Cananites, who bought a haunted house in Athens. In Plutarch's The Lives of the Noble Grecians and Romans in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea. Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus. Mary Shelley's well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death. European horror-fiction became established through works of the Ancient Greeks and Ancient Romans. These manifested in stories of beings such as demons, witches, vampires, werewolves and ghosts. The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.