A. Emily ends up happily married.
B. Emily’s sense of decorum seems to falter late in the novel.
C. Emily is a sensible rather than defenseless woman.
D. Emily provides a unique example of a weak woman.

A. Antonia’s death
B. Matilda’s dressing as Rosario
C. Agnes’s admittance to the convent
D. The magic mirror

A. As a plot structure that diminishes the Gothic novel’s intensity
B. As the reader’s inward turn to examine his or her own tangled consciousness
C. As a means for characters to directly confront unconscious problems
D. As a place for the distressed heroine to hide

A. Queer provocateur
B. Heroine in distress
C. Angel in the house
D. Pursued protagonist

A. Religious upheaval
B. The presence of omens
C. The curse of immorality
D. Insanity

A. Each owner upends the prevailing law of the land.
B. Both are former palaces.
C. The owners of each had mistresses.
D. On the outside they look like homes, but on the inside they are prisons

A. Valancourt’s character
B. Emily’s misfortunes
C. The plot
D. Emily’s mind

A. His habitat is equivalent to the Garden of Eden.
B. He is a mistake.
C. He is the first of his kind.
D. He is responsible for the burden of original sin.

A. She is sexually deviant.
B. She exemplifies unfeminine anger.
C. She is not submissive.
D. She is understood to be mad.

A. The ethereal quality of the interior space of Gothic architecture
B. The scientific advancement of the ribbed vault and flying buttress associated with Gothic architecture
C. The reduction in width of the stone masonry in Gothic architecture
D. The immense scale typical of Gothic structures