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there is a victim who is helpless against his torturer;
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there is also a victimizer who is associated with evil and whose powers are immense or supernatural;
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the setting of the gothic story is at some point within impenetrable walls (physical or psychological) to heighten the victim's sense of hopeless isolation--the central gothic image is the cathedral or haunted mansion within which the victim is imprisoned;
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the atmosphere is pervaded by a sense of mystery, darkness, oppressiveness, fear, and doom to recreate the atmosphere of a crypt--a symbol of man's spiritual death and a "vehicle for presenting a picture of man as eternal victim"[1]; and finally,
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the victim is in some way entranced or fascinated by the inscrutable power of his victimizer [2].
Cassandra stood poised at her vanity mirror. Her long hair, which spilled past her waist, was twisted in one hand, and in the other was a pair of jeweled scissors.
As she lifted the scissors to cut, a larger hand wrapped around hers. Cassandra withdrew with a cry. "Kell! I didn't see you come in." He took the scissors away. "I take it you got the job." "I did," she said crisply. "Return my scissors to me." "Not if you intend to cut off your hair. What do you mean by this nonsense?" "I can't have long hair in the laboratory. It might catch fire or something." "Look there." He guided her to the window. Below them lay the scattered remains of a centuries-old city park. The benches were near invisible due to growth, while the pond had extended far beyond its original boundaries. Ducks floated serenely on its surface. "We played as children. Do you remember how you prized your hair?" Cassandra laughed a little drily. "Of course. I insisted all my powers as princess lay in my hair. I was haughty. unworthy of the friendship of you and your sister." ...