8. Time

How does carter manage time in this story? What might be the reasons for her choices?

In The Bloody Chamber, we are made aware that the story is being told retrospectively through phrases such as 'I remember'. The narrator, also the protagonist of the tale, tells us about the traumatic events of her past, however we are not given a time frame in which these events happen. It is not clear how many weeks, months, years or even days, she is narrating from, or how long she - as the story develops - stays married to the Marquis. This blur of reality is something that adheres to the Gothic genre as it reverses the rational sense of time to create a mysterious supernatural quality to the story. 

'I looked at the precious little clock..the hands had scarcely moved one single hour forward' shows us that the events that have just occurred were concealed within a short space of time, creating tension within the story and alluding to further events. We can tell that the protagonist wasn't aware of time herself as she has been kept inside the castle. 'Time was his servant, too, it would trap me here' shows the female oppression within their relationship and the patriarchal control he has over his wife. Time being his 'servant' means, it too, would have to obey him, as he owns the house and the possessions within it, including time and it passing. 

On page 31 the protagonist loses consciousness, and for what amount of time is not clear, creating a blur between the boundaries of time, as well as the idea of being both within and without yourself, due to your conscious or unconscious state of mind. 

These examples show that Carter has used the blurring of time to enhance the ideas of oppression and entrapment of women, two very prominent Gothic themes. She uses it to create a supernatural atmosphere within her story as the unclear boundaries of time create an uneasy feeling within the story, and a feeling of uncertainty that links to the irrational sense of the Gothic and supernatural. 

The Company of Wolves

Gothic Tables

Gothic tables.docx

WOLF-ALICE

1. Information given about 'Wolf-Alice':

 

· "Ragged girl" pg. 140

· "She howls because she is lonely" pg. 140

· "Her panting tongue hangs out, her lips are thick and fresh" pg. 140

· "Nothing about her is human except that she is a wolf" pg. 140

· "Mutilation is her lot" pg. 143

· "She was an imperfect wolf" pg. 144

· "She had no direct notion of past, or of future, or of duration, only of a dimensionless immediate moment" pg. 144

· "She was fearful when she heard the sound of pain" pg. 148

2. The description, to me, shows us the 'imperfect wolf' and 'ragged girl' we feel sorry for, like many other female characters within Carter's stories. Because we see she is most likely a feral child, the duality of rational and irrational is explored within her. The supernatural 'wolf' side shows us she is different, yet, her menstruation makes her like any other girl. This therefore makes us question the realism of the character, because her chosen behaviour is so irrational in relation to the socially acceptable human behaviour. Personally, I think she is realistic in the sense of showing both the primal and self-discovering rationality of a human being. Her reactions to the mirror 'she found only dust... a little moisture leaked from the corners of her eyes' shows us a human response to discovering a shocking truth.  

3. 'Wolf-Alice' is the name given to the feral girl, as this portrays the aspects of duality within her that are also explored within the narrative. It can be said that 'wolf' refers to the supernatural and irrational, and 'Alice' referring to the rational nature of human law. If only the 'wolf' part was present, I feel we would be unable to relate to the female quality of the character, as it's the shocking nature of her menstruation that allow us to do so. However, if the girls name was 'Alice' alone, we would not understand the duality or primal instincts within humanity. The two names can be seen as contrasting as one refers to animalistic traits and the other to human life.  

4. This story links to many others within the Bloody Chamber collection, because of the distinct blur of the boundaries between human and animal. Many stories, if not all, tackle the idea of having both good and bad, animal and human within ourselves. In The Bloody Chamber the Marquis is described as 'cobra-headed' and very primal because of his carnal and murderous tendencies. The Erl-King in the self-entitled narrative, is described as being part of the forest, and even though distinguishable as a man, still contains quality of nature, something linked closely with animalistic behaviour, and subverting back to primal behaviour. The Courtship of Mr Lyon focuses on a 'Beast' who displays human behaviour and then turns into a man at the end of the novel. Many more stories also feature this duality, possibly due to the backlash against De Sade's idea that we are only born with either good or bad within us.  

5. I definitely have sympathy for Wolf-Alice, because it was not her choice to behave this way; she has been conditioned into behaving like a wolf because of the actions of man. She understands nothing of the world and upon the nuns useless attempts to help her, she was handed to a supernatural creature, who could not tell her what was right from wrong, or what she really was. The mystery surrounding her identity and the fact she is both 'within and without herself' shows us that she really cannot help what she does or how she thinks, because she has not been taught otherwise. The scene in which she starts menstruating is the scene that evokes the most pity for the character, because she is so clueless. The scene of her bewilderment (not unlike the protagonist in Stephen King's Carrie) shows us she is capable of human traits, because she is in fact a human.  I do not like, or dislike her, because only her duality is explored. Because she is part wolf I cannot relate to her fully, however the actions she performs because of her human qualities only make me pity her.  

(not numbered).  The stories 'Wolf-Alice' 'The Werewolf' and 'The Company of Wolves' are similar because of the recurring werewolf theme and the ability to be both human and wolf. The duality of the main characters is evident because of their rational and irrational supernatural sides. The story of Red Riding Hood is clear within 'The Company of Wolves' and 'The Werewolf' as the character of the 'Grandmother' is involved. Both girls in the stories are trained with a knife and are not afraid of wolves in the forest, however in 'A Company of Wolves' the grandmother is not killed by the girl, but by the wolf itself. When harmed both the man at the beginning of 'A Company of Wolves' and the Grandmother in 'The Werewolf' both return to their human forms. At the end of both stories, the girls both 'prosper', one in the literal sense and the other because she finds a lover within the wolf and stays with him. All three stories contain settings that portray the Gothic, as these reverse the fairytale quality and basis of the narratives. 'Wolf-Alice' and 'A Company of Wolves' both demonstrate the beginning of menstruation for their female protagonists. Although in 'Wolf-Alice' is in conveyed using large descriptive thoughts and pages of text, in 'A Company of Wolves' it is given only a few lines. All three stories focus on the duality of their characters, and the brutality of both wolves and men, because of the good and evil that is within us all.  

6. 'Wolf-Alice' is the only character I pity out of the three stories, because of the harsh and disturbing nature of the others. The female protagonist in 'The Werewolf' kills her own grandmother, admittedly without knowing it was her she was killing, but then prospers and does not display any signs of grief or guilt, alluding to her murderous personality. The female protagonist in 'A Company of Wolves' only questions where her grandmother is, but equally does not show signs of hatred of the wolf or grief towards her death. Instead of hating her Grandmothers killer, she sleeps 'between the paws of the tender wolf'. The behaviour of 'Wolf-Alice' plays on the duality of her character, but I think even with her wolfish tendencies she behaves more admirably and human than the other two female protagonists. At the end of 'Wolf-Alice' she helps the Duke by licking his face 'without hesitation' to clean the 'blood and dirt from his cheeks'. Even though the death within 'The Company of Wolves' could not have been helped as it could be seen as having already been too late, the death of the grandmother in 'The Werewolf' was down to the inhuman act of society and her own granddaughter. The most human and brave acts belong to 'Wolf-Alice' even though she reacts with the only knowledge she possesses, and that belongs to her wolf characteristics.  

 

7. The Duke is described as 'old as paper' and can be seen as the embodiment of all things evil, because of his characteristics belonging to both the supernatural werewolf and the vampire. 'His eyes see only appetite' creates a dangerous and murderous reputation, however when he is described as being 'cast in the role of the corpse-eater' we can infer that he may not choose to be like this, it is just a role someone links to an actor based on their appearance. It can be said he has just been put into the position of this evil character, but is not actually this way, it is just the expectations that other people have of him that made him this way. Even though these two ideas conflict it neither makes me like or dislike him, it only makes me think about the role of people’s expectations and the way we behave to fit into and be accepted by society. 'He believes himself to be less and more than a man' plays on the idea of liminality as previously believed you can only be on one side, you cannot be on both. However, this duality displayed within both his form and ideas about himself, do make me feel sorry for him, as it seems there is no place for him in society, because he does not fit into the constrained boundaries. At the end of the story, he is saved by 'Wolf-Alice' as now exists as a human. It shows that he has been saved by the power of a woman, and at the end there is a sense of happiness, as it seems they have finally found their place with each other and society. 

8. I feel the most empathy for Wolf-Alice because Carter has used descriptive language that makes us feel sorry for her, such as 'mutilation is her lot' and 'she howls because she is lonely'. I think, Carter intended females to empathise with her because of the passage containing her first menstruation, as it is something every woman goes through. It is the menstruation that influences her actions to become more human, and this could be showing that it is not the loss of virginity that makes you a woman, it is the start of menstruation. Her bewilderment and confusion as to what is happening makes us feel sorry for her, and as women we might think back to the time we were in her position, and how new and fearful it may have been. I think she may have intended this in order to show us we are more alike her than first thought, and therefore we are all dual characters, we all have the girl and the wolf inside us.

 

9. The Duke is a character created to show the liminality of humans and beasts, as it can be said we have both qualities within us. The Duke has been used to bring out the human side in Wolf-Alice, as his house, and the possessions within it are what helps her realise she is in fact human. Even though their stories seem seperate, they are evidentaly tied by the duality of their characters. At the end of the story Wolf-Alice tries to help the Duke with the remains of her animal kindness and this shows us that 'living' requires balancing the human and the beast within. Without the Duke, Wolf-Alice would still have discovered the human part of herself through her menstruation, but the surrounding human objects that allowed her to develop her character and save the Duke would not have had an impact.

 

10. The mirror in the story is symbollic of self-awareness and the distinguishing between human and beast. After finding the mirror, Wolf-Alice regains more human composure and sees of herself as a human within, therefore then starts to look like a human on the exterior by wearing 'dresses' and 'combing her hair'. The mirror also doesn't display the face of the count until the end of the story, as he is stuck between the physical and metaphysical, until his transformation - into what can be presumed is a human - at the end. The face that appears within the mirror at the end, is distinguishable as human, because when he was in the 'role' of the beast, his face was not visible. The mirror also plays on a story that influenced Carter's 'Wolf-Alice', Through the Looking Glass.

 

11. Mirrors are used in several of Carter's other stories, namely 'The Bloody Chamber' and 'The Courtship of Mr Lyon'. All three stories feature a woman who looks into the mirror and sees herself for what she truly is. In 'Wolf-Alice' she sees the humanity within her that has been covered with the actions of the wolf, whereas in 'The Courtship of Mr Lyon' the character Beauty recognises that she is not behaving in the way she normally would, alluding to the self-awareness of her spoilt and selfish behaviour. Both mirrors in thesse two stories are used for self-discovery, however in The Bloody Chamber the mirror expresses the newly gained wealth and surroundings of the protagonist as it reflects everything around her, including the 'harem' she has 'acquired' for herself.

12. I think Angela Carter has used mirrors within her story to emphasise the Gothic genre and the idea of duality and self-awareness. In Charlotte Bronte's Jane Eyre a mirror is used to display the idea of the supernatural in the 'red-room' and the idea that you cannot recognise your own face within the mirror. Carter uses this idea to reinforce how you view yourself and discover who you are, like with Wolf-Alice and her awareness of her human side.

13. The first tale that springs to mind when I think of wolves is Little Red Riding Hood; one of the many stories that Carter has based her narratives on. Carter uses our knowledge of this existing fairytale to inverse its plot and shock the reader with Gothic events and even more supernatural creatures. Carter uses the genre of fairytale to create Gothic themes within her narratives, as it is something that shocks the audience. Carter hasn't used the role of the wolf within her work in the same way, however we also feel sorry for the wolf in 'The Werewolf' as it turns into the little girls grandmother, and is unfairly stoned to death. We do not, on the other hand feel sorry for the little girl in that story, because she is the one who helped to kill her grandmother, yet in 'Wolf-Alice' we feel sorry for the feral girl, who can also be seen as the wolf.

 

14. The 'white dress' has connotations of purity and marriage, as it is the dress you would most likely get married in. The fact Wolf-Alice thinks it makes her 'shine' could be a reference to women being more sucessful when married to a man, because of the patriarchal society and the difference in power and control. However, we see that at the end of the story it is not her who needs the Duke to live, it is the other way round; she saves his life. After discovering the reflection in the mirror was her 'shadow-self' instead of a 'playmate' Wolf-Alice finds the dress, and this is symbolic of her realisation she is not a wolf, and is in fact a girl. Finding the wedding dress that the Duke had tucked away (most probably in acceptance that his supernatural form would never be loved) she then begins to wear it in order to look more feminine. The reason she wears it now is because she realises she must conform to society, not to the extent of marriage, but to the extent of behaving and looking like a girl, as society cares about purity and being respectable, whereas animals do not. She then helps the duke acheive the same thing, as at the end he is visible in the mirror.

 

15. The fact Wolf-Alice saves the Duke could be interpreted in a feminist reading, as it shows that women do not have to be the posessions of men, they can save them; much like Jane and Rochester in Jane Eyre. I think Wolf-Alice has found the balance between wolf and human, which can be said is the perfect way to behave, due to her primal instinct to 'lick' the dirt from the Duke's face, as it is her wolfish character that saves him, not the rationality of humans. She has transformed into a more sociable and recognisable girl, as before she was only behaving like a wolf. Being around the Dukes house, the mirror and other objects shows us that in order to behave human, we must be surrounded by human objects and society. Carters use of duality calls into question what defines us as humans, as Wolf-Alice is human and inhuman at the same time. My feelings for her have shifted slightly, because of the newly found enlightenment surrounding her human form. Because she understands she has power over her 'shadow-self' she starts to behave more human, and mentally, we can see she is becoming more like us, more like a human instead of a supernatural creature, which makes me pity her less, as she is regaining her life.

7. When and Where

When and where is this story set? Why might this be?

The Bloody Chamber, set in 19th Century France, is introduced in the period of the 'Fin de Siècle' - a time of artistic development and decadence, influencing the wealth and excessive behaviour of the Marquis. With 'gold bath taps' and a 'castle' for a house, it is clear to the audience the Marquis is a typical Bourgeoisie; an upper-class product of the time the narrative is set. The uncertainty experienced within this time also, links to the Gothic fear of the unknown, and the protagonist's naive thoughts at the beginning of the story; she is unaware he has plans to kill her. It is uncertain to the audience whether the protagonist will die or live, or how the story will unfold towards the end.  

Artistic development and flourishing also links to the Marquis' collection of artwork, most specifically the 'Rops'. The grotesque depiction of 'lovers' within the painting is described with crude expression, hinting at the danger, violence and lust within the Marquis. The use of the 'fin de siècle' as a setting shows the liminality of the times, and therefore this is portrayed within the characters (such as the Marquis) also. Being on the cusp of the old and new ideals within society can also show the duality of a person, who is both pliable to the old and the new.

Carter, basing this story of the tale of Bluebeard, has chosen to also use a similar setting, as the tale, too, was set in France. The setting of Paris within both stories alludes to a romantic, lustful theme within the narrative, which is key to the narrators initial reaction and attraction to the Marquis.

The Marquis' castle is situated in the north-west of France, on the coast of Brittany; a place supposedly filled with mythological tales that adhere to the supernatural tone of the Gothic theme. The climate, often filled with rainfall, adds to the atmosphere of both the Gothic genre, and the action within the story. Pathetic fallacy draws upon the atmosphere and weather of the location, so a naturally dismal or rainy place adds to the plausibility of the story and the details within it.

Carter may have chosen this time period, as the social and moral ideologies are different to todays. The ferocious control the male has over the females within the story is that of the Patriarchal society; something that was important in the 19th century, not only in Victorian England but in France too. Carter's chosen society dictates that the control he has over his wife (and past wives) be normal. 'The vision of the world presented in them [the story] is moral' needs to be enforced in order for a moral to be gained at the end of the story. Although there is no clear moral within this story, other than the feminist theme that runs throughout the events, this quote can still be applied to the morality of the society that the story is set. Carter has used a moral society to emphasise the grotesque and terror evoking murders the Marquis has committed. However, the chilling reaction of the protagonist, who seems to react to the murders as if they were rational, not irrational, shows us that in a world where man can do no wrong, their sins are not accounted for. Yet, because the world is moral it is a world where 'justice is done and where everything finally is fair'. This, an explanation of the two page conclusion to the story shows us that because the story is set in a moral world, the events, although irrational and satanic, are adopted and transformed by Justice.

 

Critical extract H - Margaret Atwood, 'Running with the Tigers'

1)

(A) Fresh knowledge/information that’s useful in reading the story

The Countess is the role of the ‘master’ and the ‘predator’ because of her vampire heritage and her thirst for blood. This is unusual due to the fact the stereotypical ‘lion and lamb’ mentioned in the article conforms to the natural order of patriarchy. De Sade thinks that your ‘nature’ is who you are; good or evil, you cannot change that, whereas Carter focuses on ‘nurture’ and the ability to morph between good and bad, acting on the duality of the Gothic genre. The Countess is trying to change what she was ‘born’ as, however, she cannot do this easily – proving de Sade has a valid point, yet this can be seen as biological only, as she tries to stop harming others.

B) Confirms your interpretation:

In De Sade’s work ‘Juliette’ is born evil and ‘Justine’ is good, showing the audience there are set roles within our nature; something Carter disagrees with, as the Countess displays both qualities within her actions, showing the common gothic themes of duality and liminality; juxtaposing with De Sade’s very basic idea, that adheres to the fairytale structure.

‘The nature of men is not fixed by Carter as inevitably predatory’ – this quote, although contrary to her other texts, fits the male character within the Lady of the house of Love, as instead of causing her grievous harm, he wishes her to get better because he loves her. However, even though he cares for her, it is his love that eventually kills her, because it is one thing she cannot have. His lack of violence shows that Carter has not deemed all men to be violent and powerful, as in this story, her death is out of kindness and can be seen as him setting her free and releasing her from the life she was not happy with. Although this gives the impression females can only be set free with the help of a man, we see that the gender roles do not dictate that man is predator; woman is prey, within this story.

C) Adds to or develops your interpretation

De Sade constructs a mould for individuals who are good or bad, predator or prey, something which Carter challenges by developing her characters from those conventional to fairy tales. She creates liminal characters, consequently acknowledging the ‘complexity of human relations’ in that male and females are both masculine and feminine. The Countess is described as “a girl who is both death and the maiden”, exploring that she is an example of both morbid mortality and innocence co-existing together. This links to Bettelheim’s interpretation of fairy tales as a means for a child to experience ways to overcome ‘evil’ within his own unconscious by seeing how good characters triumph over evil ones.  Carter explores in the form of the Gothic that we all have both good and bad within us, highlighting the duality of Gothic characters.

D) Challenges your interpretation

‘Carter celebrates relativity and metamorphosis’ shows us that Carter reinforces ideas of change within her characters. However, in this story, the protagonist doesn’t undergo a physical change, her life ends. Even though she is not given the ability to ‘try and resurrect her rose’, future generations have been given the chance to learn from this story so that they can encompass aspects of both good and evil. The Countess’ death is crucial to the story, as it allows the metamorphosis to occur within society, despite the fact she herself does not change for the better.

2)

Highlighted phrases to use in an essay:

‘Predator and Prey’

‘Pleasure belongs to the eater, not the eaten’

‘The Bloody Chamber can be seen as writing against De Sade’

‘The nature of men is not fixed by Carter as being inevitably predatory’

‘Carter celebrates metamorphosis and ‘the complexity of human relations’


3)

'Although society may slant things so that women appear to be better candidates for meat-eating' Carter reverses the gender roles within this narrative, so that the 'eaten' becomes the 'eater' and the Countess is the one in control. This reversal of the typical view of the weak and passive woman is the outcome of Carter's feminist views. In contrast to her other stories, the female character is not the 'meat', both because of her being a supernatural vampire, and becuase she is living without the dictation of a man. However, as we are told throughout the story, the Countess is miserable and wishes for a mortal life filled with love, we can see Carter has acknowledged the duality of her characters, showing that, in contrast to De Sade's opinion, metamorphosis within us is plausible and we are not simply born 'good' or 'evil'.

 

6. Key Themes

What do you consider to be the key themes of this short story? Does the story have one or more messages for the reader? If so, what might these be?

 

Entrapment and violence, to me, seem to be the two most prominent key themes within Angela Carter's 'The Bloody Chamber', and they are two of the most Gothic. These themes are conveyed using setting, action and speech, conveying further themes of the degradation of women and the way that men are portrayed.

The entrapment can be based on the fact she is being trapped within the relationship, through the ceremony of marriage; an ironic use of the tradition as marriage should be about love, and the union of two people. Instead, this marriage is seen as a device used for the male to gain control over the protagonist and 'trap' her. We can see this is evident from the 'wedding gift' the Marquis presents to the narrator; 'a choker of rubies, two inches wide, like an extraordinary precious slit throat'. 'Choker' connotes the image of being tied within chains, unable to escape, linking to the idea of entrapment, as well as possession. The Marquis claims his 'wife' as his possession, by branding her with something of his own. The necklace also, being tight fitting and almost to the point of strangulation shows us that she is unable to avoid this situation and find herself trapped by his power and wealth; something that allured her to him in the first place. This cruel necklace symbolises 'the memory of a wound' by being presented as a slit throat, adding the first element of violence into the story. This necklace also foreshadows the Marquis' desire to behead the protagonist - something he feels she cannot escape. Not only does this portray the helplessness and defenceless characteristics of the protagonist - linked to females in general - but it demonstrates the patriarchal society in which Carter wished to break free from. However, by creating a protagonist who is not incredibly strong willed or powerful, she is reinforcing gender roles. Towards the end of the novel though, the narrators mother, a powerful, ambitious and daring character, saves the day, alluding to the fairytale ending.

The setting she then ventures to is his house in France. The house is described as having 'turrets' and 'spiked gates' which all suggest the theme of entrapment and the idea that she will be unable to leave or escape his home. 'Cut off by the tide from land for half a day' also suggests the isolation evident with both the house and the marriage, indicating the narrator truly is trapped within the perimeter. 'Spiked gate' not only lends itself to entrapment, but also connotes a violent nature as the 'spikes' are often connoted with weapons, causing pain to anyone trying to scale the gates. The protagonist is kept in the 'turret suite', reminding the audience of a princess locked in a tower, waiting to be rescued. This fairytale similarity shows the entrapment of the female within a phallic symbol, with no way of escape; however it does suggest a happy ending, like the examples found within children’s stories.  

Violence is most associated with the Marquis, as he, being the stereotypical Gothic villain, murdered his three previous wives. The Bloody Chamber is based on the tale of Bluebeard, and follows a similar plot line. Violence is apparent in both stories, however the gruesome behaviour and actions of the Marquis is, quite possibly, more shocking for the audience. The 'torture chamber', filled with 'blood', 'embalmed' corpses, 'skulls' and 'coffins' - all stereotypical gruesome and shocking items. 'She was pierced by not one, but by a hundred spikes' links to the gate, displaying the terrifying behaviour of the Marquis. The 'Iron maiden' is also featured, a Victorian torture method that the Marquis employs within his murderous work. Not only does this highlight the psychotic disposition of the male character, but it demonstrates the power he had over his wives, and the power he now holds over his wife.

As mentioned earlier, the narrator’s mother rescues her daughter, removing her from the 'trapped' situation she found herself in. This action of saving her daughter results in an 'irreproachable bullet through my [the protagonist's] husbands head', reversing the gender roles found previously within the narrative. The male character, now the prey instead of the predator, is murdered, by none other than a woman. Carter has included this violence to conclude the story and give it the happy ending she desired, whilst also reinventing the gender roles, presenting the heroic woman as unstoppable and powerful.

Even though the two key themes within The Bloody Chamber are contradictory, so much as, entrapment within the story portrays females as weak and submissive, trapped within the constraints of men and their leading roles, yet violence concludes the story and shows that women can become heroines and save the day, adding a duality to the story and the character within it.



'The Lady of the House of Love' - Male Characters and Interpretations

Pages 111-112 
How is the young man presented? 

'Blonde, blue eyed' links to the 'perfect race' formed by the Nazi Germans in the second world war, so inclines us to think there will be conflict within the story that involves him, yet also tells us he is a handsome man that women (the countess) will fall for. 
'Blue eyes' also links to innocence that babies and small children possess, as well as his youth and 'virginity'. 
'Although so young, he is also rational' this contrasts with the irrational storyline and plot that concerns the vampire.

Page 112
What is the significance of the bicycle?

The bicycle is described as 'the product of pure reason applied to motions' and 'the most rational form of transport' which contradicts the theme of the irrational and supernatural within the story, with logic and human reason, as the bicycle symbolises human reason at work. Refusing to give away his bicycle symbolises his initial disbelief in the irrational, and his unwillingness to be separated from those which stand for reason and humanity. 

Page 113
What is the significance of 'he gratefully washed his feet and hands' in the village fountain? 

Washing his feet and hands could link to purity and washing away of sins, therefore it also contains religious themes and links to Jesus washing his disciples feet. This again has connotations of human reason and the rational, as the supernatural plays no part in this action. Because the fountain is also a trap, an object used to lure in innocent and unsuspecting people, the fact he 'gratefully' washes and drinks means that he may also be grateful in the future, grateful to meet the Countess. 

Page 114
'Curiouser and curiouser'
What does this suggest about the young man? Which other characters are you reminded of? 

It shows his youth and wish for answers, answers that derive from logic and reason. It suggests that he is inquisitive and wishes to find out about the world, yet at a first glance he sees that this situation may be different from the rest, due to the elusive Countess and mysterious woman that meets him in the square. I am reminded of Alice and Wonderland, and the fact that Alice falls into a completely irrational and supernatural world, just like the male character in this story. 

Page 116 
The crone is described as bringing the young man to 'Juliet's tomb'. What is the significance of this intertextual reference? 

'Juliet's tomb' is a direct reference to Shakespeare's Romeo and Juliet, highlighting the future romance between the characters, and the event of the Countess dying. Even though in Romeo and Juliet both characters die, the emphasis on only 'Juliet's' tomb, foreshadows her death. Also, it links to the supernatural and the 'undead' being of the vampire, playing on the role of a coffin as a bed. 

Page 117
'What a grisly picture of a capering skeleton! He covered it up with a happier one - of two young lovers smiling at one another....' 
How is the young man presented here? What might Carters purposes be?

This ignorance of the bad and ugly things within the world, shows his positive outlook and refusal of negative things. It also presents the Countess as the 'capering skeleton', therefore showing that he is the remedy, helping transform them both into 'young lovers'. He is also displayed as powerful, as he changes the pictures to something he desires, as well as changes the situation the Countess is in. 

Page 119
'Can a bird sing only the song it knows, or can it learn a new song?'
'One kiss however, and only one, woke up the sleeping beauty' 
Carter makes significant use of repetition in this story. Why might this be? What is the significance of the examples above, both of which are repeated in the course of the narrative.

'Can a bird sing only the song it knows, or can it learn a new song?' links to the idea that the Countess wishes to change what her life has become, and wonders if it is possible to become more human, and sing a 'different song'. Carter is exploring if old behaviour can be changed, as well as our ideologies. 'She hovers... between life and death, sleeping and waking' links to the idea that 'Sleeping Beauty' can be awoken by a kiss. The Countess desires the love and affection from the handsome boy, and thinks that his kiss will wake her, as it did in the fairytale of Sleeping Beauty. When the boy 'kisses' the wound 'better' the liminality of her condition is shown even further as instead of being awoken, she dies. The repetition of the fairytale line, is to foreshadow that the Countess will die, making this quote ironic, as she planned to be saved. In a way she was saved from the life she hated, and the only way to be saved was death. 

Page 123
'And so he puts his mouth to the wound. He will kiss it better for her, as her mother, had she lived, would have done' 
What is the significance of this quotation? 

The man wishes to take care of her, however is unaware that his kiss will kill her. The idea of him taking care of her as a mother would have done, shows the connection between the characters. The fact she misses the mother figure in her life, and clings to her through the wearing of her wedding dress, something the man takes advantage of. If we look at it positively however, it also shows the caring behaviour of the man, as all he thinks about is making her life better and happier. The fact he kisses her wound however, reverses the roles of the two characters, making him 'motherly' and more feminine. 

Page 125
How might we interpret the ending? 

Because the flower was once again blooming, we could interpret it that the Countess has come back to live either as a vampire once more, or a human. The words 'corrupt' and 'monstrous' are contrasted with 'glowing' and 'brilliant' which may represent the way the man thinks about the Countess, as he realises the monstrous things she has done, as well as her beauty. The use of a rose is also significant, as although they are magnificent flowers, their thorns can do damage; like the Countess' fangs. 

Overall, how would you explain Carter's presentation of the Lady and the Soldier in this narrative? 

The Countess, being described as a Gothic supernatural being is represented as both powerful and helpless, as she has the ability to take lives, yet cannot change the life she hates living. When she meets the Soldier she is thrown into chaos, and is even more vulnerable because of her want for 'another type of consummation' and the loneliness she feels without her mother. His purity 'blinds' her, making her weak and 'childlike'. The Soldier however does not understand the effect has has on her, due to his naivety and innocence, symbolical of his unbroken virginity. He notices the Countess' beauty and comments on her lips, similar to that of a 'whore', emphasising the way she bites (therefore kills) lots of people, yet he see's it in a sexual way. We see he is caring as he attempts to help the lady, however he is unaware that his help is the thing that kills her in the end. This could be an allegory for the constant relationship between men and women, in which the man does not realise he is killing the woman by being himself. This theme is also demonstrated in The Erl-King, as he is not aware that he will be the girls downfall. 

Bruno Bettleheim

How might Bettleheim's ideas help us to understand the purposes of fairytales?

His ideas explain that without the depiction of both good and evil within stock characters of the fairytale, children reading them would not be able to distinguish between the two categories. Fairytales are there to teach children what is right and wrong, conditioning them to think that certain behaviour and characters within the stories are evil and 'bad'. The reader is also more likely to relate to the hero and aspire to be like them, because of the happy ending in which love and life-long happines is achieved. The polar opposites of the characters mean that the child can acknowledge evil, because if evil is not presented, the natural emotions or thoughts within the childs mind may be percieved as unnatural because of it's questioned existence. The child may then think the evil only existed within them; whereas that is not the case.

How do Bettleheim's ideas help us to understand the purposes of Gothic?

Within both the gothic and the fairytale there are stereotypical good and bad characters, however, the knowledge we possess concerning fairytales shows us there is no grey area; something that is developed and contained within the Gothic genre. With fairytale you are condtitioned to think a certain way as a child, whereas the blurred boundaries between what is morally correct and what is evil that feature heavily within the Gothic, means we have to decide which character represents which role ourself.

Why do you think Carter mixes the fairytale and Gothic genres in 'The Bloody Chamber'

 

Carter has re-invented the fairytale genre whilst exposing the false ideas we have of 'good' and 'bad' characters. She points out the flaws in both male and female characters, blurring the lines between which character is the stereotypical hero and villain, as for example the Marquis; dangerous, murderous and controlling - transforms into the victim at the end. Being influenced by feminism, her stories do take on the general assumption that men are the villains and women are the victims, however the switch in gender roles and the role of the victim cause the blur between the character traits. Personally, I think she has done this to show how we are conditioned to think a certain way as children, and that the horrors within her story, mixed with the fairytale genre are relevant to all areas of life.

5. Structure

What is significant or interesting about Carter's structural choices in this story? How has she put the story together and why has she made particular choices?

Choose one aspect of Carter's structure and explain its significance

 

'The Bloody Chamber' explores the relationship between the Marquis and his new bride, however even though the story is written chronologically, it is written in past tense - narrated retrospectively by the protagonist, an unknown amount of time after the events occur.

We are introduced to the story in past tense, 'I remember' signals to us that the protagonist is looking back on events, instead of writing the events in the way they happened. This then continues with 'And I remember' remaining this way throughout the novel, until the present tense is used at the end of the story. After several pages of description and relaying of events, parentheses are used to give the reader information that deviates from the main action of the story. '(I swear to you, I had never been vain until I met him)' is the retrospective narrator talking, telling us minor details about her personality and the 'potentiality for corruption' she sensed within herself. This quote also shows the negative character traits the Marquis possesses and the ability to warp and change an innocent girl, hinting at the patriarchal society and control men exercise over women. There is however another way to look at the change within the narrator, as 'until I met him' also links to his lifestyle, money and gifts, which could have also 'corrupted' her. It shows that women are also influenced by greed and power in the same way men are. 'I swear to you' addresses the reader directly, a language device that informs Carter's structural choice to write the story retrospectively.

Carter also addresses the reader directly when saying 'You must remember how ill at ease I was in that luxurious place' displaying the control she has over both the telling of the story and what we think of both her and the Marquis. By using the word 'must' she is asserting her power of the readership, emphasising the view she wants us to have of her, almost reassuring herself that both her and the readers think of her as the helpless victim, causing us to feel sorry for her.

We see the narrator has become wiser and more knowledgeable (we later find out it is forbidden knowledge, kept away from her by her husband) through the line 'I was only a little girl, I did not understand'. 'I was only a little girl' shows not only how helpless and vulnerable the past tense character was, but how much stronger and adult the present tense narrator is too. We can see that something will happen that gives the character more power, as even when having lost her virginity she still describes herself as a 'child', foreshadowing that her defining moment is yet to come. 'I did not understand' also foreshadows an event or conversation that gives the protagonist insight into the Marquis' behaviour and ultimately the horrific acts of violence he has committed whilst playing upon his psychotic tendencies. This not only hints at what is to come within the story, but also engages the reader due to the fact we want to find out what she doesn't 'understand' and how she is enlightened.

After the climax of the story, a new paragraph is used, indicating the change in scenery, time and location; a structural device used in several other points in the book, for example straight after 'The next day, we were married'. This missed line within the body of text also adds a dramatic pause, building the tension and letting the information previously given sink in. 'bullet through my husband’s head' is the last line before the break in text, emphasising it's importance to the story and the shocking event that occurred. Carter then provides a time gap; the amount of time lost is unknown, however the text reverts to the present tense. The story, no longer written in retrospect, ties up loose ends and gives a fairy-tale ending to the plot. The element of a retrospective narrator however is a Gothic convention, and links to the revenant; the returning of the past. In the recollection of a memory, the Marquis returns from the dead to haunt the narrators thoughts, and shows that even though the traumatic events are over, she will always be reminded of the Marquis from the 'red mark' on her forehead. This indicates that however hard we try we can never escape the past, making this story one of the most Gothic within the collection.



Exam Questions

June 2012
‘Carter explores basic instincts rather than subconscious desires’. Consider at least two
stories from ‘The Bloody Chamber’ in the light of this comment.

Jan 2011
“In the stories in The Bloody Chamber Carter is excessively interested in violent instincts.”
How far do you agree with this view?

June 2011
“In The Bloody Chamber Angela Carter reverses gothic traditions so that the males become the victims instead of the females.”
Consider at least two of the stories in The Bloody Chamber in the light of this view.

Jan 2010Many readers have been shocked by the stories in The Bloody Chamber. Do you find
them merely shocking? You should refer to at least two stories in your answer.

June 2010
In The Bloody Chamber, childhood fairytales become the stuff of adult nightmares. With close reference to at least two stories from the collection, say how far you agree with this
comment.

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

How far does this quotation support the statement?

'The woods enclose and then enclose again, like a system of Chinese boxes opening one into another; the intimate perspectives of the wood changed endlessly around in the interloper, the imaginary traveller walking towards an invented distance that perpetually receded before me. It is easy to lose yourself in these woods.'

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The Erl-King is one of the most memorable stories within the Bloody Chamber collection due to its varied and poetic language that entices and captures the imagination of the readers. This technique is often associated with the fairy-tale genre; a style that Carter's stories lend themselves to. Even though Carter has stated 'These are my own stories, they are not my version of the fairy-tale' we can see the similarities between the original European tale and the gothic stories Carter has created. All of her stories, though fairy-tale like, contain gruesome horror, advanced ideologies and feminist writings, making them unsuitable to children, challenging the fairy-tale conventions and making the stories ones of the Gothic genre. 'The Erl-King', although still a gothic story like the others, stands out from the rest and in my eyes, making it the most experimental and unconventional story within the collection. This quote is a glimpse of the varied techniques used within the narrative however it demonstrates the innovative language and her gothic approach.  

One of the first things we are introduced to as readers is the shift in narrative perspective, as the story starts with poetic language in third person but swiftly changes into second person. 'The imaginary traveller' refers to the narrator herself, as it is her who is journeying through the forest; however she refers to herself in third person. This shift in narrative voice links to the idea of identity and being both with and without herself, seeing what she is and what she is not. This adds an aspect of duality to the narrator, as (we find out the narrator is female) she is challenging the assumption there is one fixed identity of herself, meaning she can be what she wants to be whether it concerns looks, gender or sexuality; the 'invented journey' symbolising the metaphorical journey she is taking as she tries to find out who she is. This added confusion within the ability to switch between perspectives is unusual, and completely unconventional, especially within her other stories. For example, 'The Bloody Chamber' is told in retrospect, but also in first person; there is only one place with which it deviates from the narrative perspective, contained in the line 'until that moment this spoilt child'. The fact none of her other stories deviate from the norm, shows us that 'The Erl-King' is innovative and creative. It blurs the boundaries of the narrative, as we have to decipher where each perspective begins and ends, making it unlike anything else Carter has written.  

When the narrative is told in first person, it can be said that the narrator is dictating the story, giving her the power within the relationship between her and the Erl-King, influencing the way we think and feel about him with her use of description and retelling of events. This empowerment of the female character is the feminist thoughts of Carter influencing her writing, something we see in many of her other stories too. In contrast to the patriarchal society, Carter allows her female roles to speak for themselves and leaves the man with no control over how the story is told. This lack of male control within the way the story is told foreshadows the death of the Erl-King at the end of the story. The death is told in first person, and then third, showing the 'intimate perspectives' within the story; linking the events to Porphyria's Lover and the intimate death that occurs at the end of the poem. Carter reverses the stereotypical gender roles within this story, as unlike 'The Snow Child' the woman within this story is not helpless, and she uses violence to escape her predicament which isn't the stereotypical way for a female to behave, as they are described as passive and weak.   

Another way Carter has blurred the boundaries of gender is by describing the Erl-King as 'an excellent housewife' and a sub-human being, making him more effeminate and not the stereotypical masculine character such as The Marquis in 'The Bloody Chamber' or The Count in 'The Snow Child'. She goes against the patriarchal society by not only giving the female role power, but by stripping the Erl-King of masculinity, giving him a vulnerable side not portrayed in the other stories. The idea that you can be only one gender and have one fixed identity is explored in 'The Erl-King', as it can be suggested that the Erl-King is a woman trapped in a man's body; the 'green eyes' showing the jealousy of the character, as the captured women are beautiful and free, whilst the woman is trapped in a hideous shell. The 'Erl-King's' search for love and affection could derive from the idea the woman is not seen as a woman and wishes for people to think of her that way. These possible links to the transgender community shows that one fixed identity is unsustainable. Carter, fighting for equality, may have added this subtle idea to show that difference within sexuality and gender is something to be accepted and explored. However, if we do not look as deeply, the Erl-King could simply be an effeminate character used to show there are several sides to man, not just the violent, controlling and strong traits shown in several other stories. This idea links to the gothic convention of entrapment in a way that has not been explored within her other stories, making it original and creative, thought provoking and incredibly innovative, as it touches on many different themes, ideas and ideologies, as well as the difference in gender and character traits. 

Entrapment is a theme used throughout the collection of stories, whether it is physical entrapment within a castle, or emotional entrapment from not being able to escape a marriage. 'The woods enclose and then enclose again' demonstrates how Gothic the setting within 'The Erl-King' is. The repeating of the word 'enclose' emphasises the physical boundaries the narrator finds herself struggling against, and this is then continued further within the simile 'like a system of Chinese boxes, opening one into another', implying that the dangers she finds herself in are inescapable. The forest can be seen as an allegory for marriage; the Erl-King is her husband. 'It is easy to lose yourself in these woods' shows us that once you enter the world of marriage you can never escape, portraying men as 'devastating' and controlling; traits found in Carter's other stories also. 'Magic lasso of inhuman music' links to the story of the Pied Piper and his ability to lure children away; something the Erl-King demonstrates he can do, by enticing his victims and locking them in cages. However,  it is not the use of entrapment that makes this story unique, it is the sometimes complex and  poetic language used (as displayed in the given quote), that explores the idea so comprehensively, making it the most creative and  one of the most developed stories within the collection.  

Although there are many similarities between the collection of stories, 'The Erl-King' is simply hypnotising. The choice of language, the structure of the narrative and the narrative perspectives all collaborate to explore the boundaries of sexuality and gender as well as the feminist views of equality and empowerment. 'The Erl-King' is definitely 'Innovative and experimental' as it lends itself to the Gothic genre, contrasts with the fairy-tale and breaks conventions that are used in narratives not only by Carter, but universally.

 

 

4. Form

What is significant or interesting about the way in which Carter uses form in this story? Choose two aspects of form and explain their significance.

'The Bloody Chamber' is presented to us through the eyes of the un-named protagonist, as she tells the story through first person narration. The story begins 'I remember how', showing us we will embark on the journey along side the character, learning as she learns. 'Remember' also shows the narrator is looking back retrospectively at the events; something that becomes clearer at the end of the novel. Because the story is written retrospectively, it implies a lesson can be learnt from the events, foreshadowing the physical and emotional journey the character goes on. The narrator is speaking in present day, therefore for the events to occur in first person, past tense is used. Throughout the novel it becomes less apparent however, as we are given details at the same time as the protagonist was, we are following her exact footsteps. First person narration is significant within The Bloody Chamber as we get the story from a females perspective, allowing us to think about feminism within the vignette, as only she sees the horrors of the bloody room and what the Marquis is truly capable of.  

There is one key moment that really stands out to me, in which the narrator refers to herself in third person: 'until that moment this spoilt child'. This sentence is interesting, as this sudden change in narrative perspective highlights the fact she does not recognise herself, due to what she has become. She acknowledges her 'spoilt' behaviour and seemingly chastises herself, referring to herself as a child; stripping away any power she had and recognising how vulnerable and endangered she is. At this point in the story she doesn't give herself the pleasure of admitting her feelings, adding to the psychologically scarring events that are about to occur. 

The events are stereotypical of the Gothic form, as the Gothic theme runs heavily throughout the story. Her lack of reaction to the 'iron maiden', 'pool of blood' and 'dead lips smiling' is not expected in modern society, as the shock, horror and psychological terror would be too much for one person to handle, whereas the narrators' 'inherited nerves' mean she accepts the dead bodies and treats it like an everyday occurrence, blurring the lines between the rational and the irrational. This blur of boundaries adds to the horror within the story, as well as the twisted nature of the Marquis' mind, shocking the audience as well as highlighting the power that men dominate over women and sexual difference. 

Gothic form is essential to the story, as the title lends itself to gruesome thoughts, foreshadowing the later events within not only 'The Bloody Chamber' but the other stories too. 'The Bloody Chamber' however is the longest and possibly the most significant, because of its clear use of gothic terms, settings and characters. The 'dark' and 'shuddering' train provides a physical journey to the 'castle' embellished with 'spikes' and 'turrets' providing a Gothic atmosphere for the events to take place. The castle also connotes the gothic convention of entrapment, showing how powerless the narrator is, in contrast to the stereotypical gothic villain. The 'Marquis' is similar to other characters found in stories such as 'The Mysteries of Udolpho' by Ann Radcliffe, and 'The Castle of Otranto' by Horace Walpole. These characters lean upon themes of duality and liminality, much like the Marquis. Even though he gives the protagonist a choice, she transgresses and fulfills his secret wishes, leading to him indulging in her planned death, yet if she had not committed the act of betraying her husband would this be her sentence? Carter uses the blur between the irrational and rational, as well as other gothic conventions to constantly make us question sexual difference and feminism; something which she explores throughout this story and the subsequent stories also. 

3. Language

What is interesting or significant about the way in which Carter uses language in this story? Choose two aspects of Carter's language and explain their significance. 

In 'The Bloody Chamber', various colours are used as motifs; symbolic of ideas, events and character traits. For example, 'red' is a constant theme that runs throughout the story - linking to the 'bloody chamber' itself, as red connotes blood and death. Many people also believe that the 'bloody chamber' is symbolic of the womb, adding another layer of horror as the 'womb' becomes a tomb in which dead bodies are stored. 
 

'Red ribbon' and 'a choker of rubies' both link to the Gothic theme of entrapment, as 'tied' links to being withheld and the red rubies depict the claim of possession the Marquis has over the young girl. The 'choker of rubies' presented like 'an extraordinarily precious slit throat' hints at the vicious behaviour and thoughts of the Marquis, as this foreshadows the 'decapitation' he plans to perform at the end of the story. A biblical reference is also used, as the crowd 'parts like the Red Sea', showing the control of the Marquis and the position of which he holds in society. The Marquis, being a selfish character, clearly thinks he is greater than man, as he decides whose life to take, using the power - from a religious point of view - only God should have.  The colour 'red' is also contrasted with the colour of 'white' to show the journey from childhood into womanhood. It is representative of the 'bloody sheets' that show the loss of her virginity; something that also links to the idea of this story being about the womb and sexuality. 

Before the girl loses her virginity, she wears 'white muslin' - a colour connected with purity and angelic women; something that is featured heavily in victorian ideology. When the girl loses her virginity; she is no longer the angelic child, she 'ceases to be her mother's child in becoming his wife' as she has progressed into womanhood. 

The exploration of phallic symbols (and in the protagonists case; a phallus itself), represents the relationship between man and woman; presenting men as selfish, greedy and cruel - pointing out their flaws in hopes to change their ways. Carter has used phallic imagery in several different locations to show that it is men who are the dominant ones and have the power in both the relationship and society.  Sexuality is explored throughout the use of phallic imagery; 'great pistons ceaselessly thrusting' connotes the act of making 'love', as the train - being a phallic symbol and machine created by man - adds sexual tension to the story. Whilst the narrator is riding the train she uses promiscous vocabularly to describe her 'satin nightdress' as it 'teasingly carresed her...nudging between her thighs' representing the more mature path of marriage she is taking and foreshadowing the consumation of their marriage. The fact she is journeying on a phallic symbol and then acts in a more sexual way is significant, as the language used isn't that of an angelic girl and it shows the 'potentiality for corruption' within her desires.

The 'spikes' and 'turrets' of the castle also link to phallic imagery, presenting the control and power the Marqius has over her because the phallic symbols create the theme of entrapment, locking her in the tower and keeping her in with 'spikes' - and patriarchy dictates he owns the property, making her simply a guest. The ending depicts the protagonists mother saving her from death by shooting The Marquis with her husbands gun. The gun is also a phallic symbol, and it implies women are incapable of saving themselves and must be protected and saved by men and their inventions. Carter, uses the strong character of the protagonist's Mother to kill the Marquis, displaying her feminist views and her wish for equality in society.

'The Erl-King represents the very essence of man; selfish, unthinking, innocent and destructive'

How far do you agree? 

The Erl-King, as a character, can be described in all of the terms used above; however is it fair to say these are the essences of man? Carter has used a deliberately loathsome approach in her display of men throughout her works, influenced by her anger at the oppression and degradation of females within society, and her practise of feminism. Men however can be kind and gentle, as shown through the Erl-Kings ability to love the women he then traps in cages.

‘How cruel it is, to keep wild birds in cages! But he laughs at me when I say that’ shows the audience that the Erl-King may not fully understand the harm he is doing by keeping the women in cages; he only wants to serve his selfish purposes and doesn’t care about the effects on other  people; making him an unthinking person. His laugh can be taken in a sinister way, showing the malice and spite in which he is fully aware of the harm he is inflicting on the girls.

The Erl-Kings innocence however can be questioned, as an innocent man wouldn’t sleep with various girls and commit acts similar to that of a supernatural being (‘you sink your teeth into my throat’). The ‘innocence’ can be taken in an ironic way, as the ideologies of society mean that women are criticised more than men, for doing similar actions. The Erl-King is not accused by any of the women, there is no character to point out his wrongs; he is allowed to continue until he is killed at the end of the story; bringing about his own destruction. ‘The Erl-King will do you grievous harm’ clearly states the destructive behaviour of the character, and his ability to charm and entice his victims.  

The Erl-King does adhere to these character traits as he is selfish in taking the purity of women, unthinking as to what that might do to their reputation and image, innocent as he is never blamed and destructive because of his actions. In allegorical terms he represents man; the story depicting the power struggle and gender roles within society. The Erl-King can be seen as a villainous character, possibly portraying Carter’s views on men in general. 

'The Erl-King can be read as a journey into the unconscious'

How far do you agree? 

The strong Gothic elements, the strange character of the Erl-King, the location and the storyline all link to the idea that the story is a journey into the unconscious. 'Lucidity' is often a way to describe dreams, as 'lucid dreaming' is a realistic dream that feels like it's truly happening; something that could be happening to the narrator. However since she feels and sees so clearly, how can it be a dream? The blurred lines of reality and trickery is apparent here, as the narrator seems confused of her surroundings, describing things in various tenses, and seeing things that aren't truly there, but feature in her 'illusion' of the forest. This illusion could have been influenced by her slowly losing consciousness, becoming more distorted by the second. It could have, however, been created to describe her unconscious and what can be found there. Because of the oppression and the way women have been treated, their self-worth, confidence and pride may be shattered, adding a melancholy  bleak and dark touch to their minds; something Carter may have wanted to explore to show how the patriarchal society has affected us mentally. 

The monstrous character of the Erl-King, sounds so much like a fairytale villain, that it is hard to believe he is a character of this reality. 'He came alive from the desire of the woods' hints at a supernatural being, as he is not entirely human; supernatural beings concocted from various memories, brought together by the subconscious perhaps. The Gothic character of the Erl-King is described as being part of the forest, therefore part of the girls unconscious mind, showing how inescapable men and the dominating role in society is. 

The ending of the story can be seen as false in relation to reality, as the gender roles have been reversed - something society didn't intend to happen. The act it has happened, and has been described in the book, may link to the narrators wishes; not her actual surroundings. It can be inferred that because this has happened, the story must be a dream or happening in her unconscious mind, because a woman taking control and wielding her power over a male is not the expected action, and could never - in a misogynistic opinion - happen in real life, as women are weak and submissive. 

On the other hand, Carter has used The Erl-King story as an allegory, to show how women are treated in the hands of men - a delicate topic that flows throughout all of society. To make this point however I do not think she meant for the story to be read as a 'journey into unconsciousness' but for the audience to realise how serious and out of control the situation is. Even though in some ways the story can be read in the way suggested (due to the liminal state and blur between the lines of reality created because of the narrative voice), it is more likely a story, based on the fairytale, intended in an allegorical way to portray the dangers of men and Carters feminist views.