Classic gothic literature was largely popular during the nineteenth-century. Stories like Lewis’s The Monk and Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde are spot on examples of what the gothic truly is -- upper essolant society coming to terms with its fears. In these gothic stories, we see dilapidated mansions or castles, gloomy streets, fantastic occurrences of grand proportions, and most importantly -- repression of an internalized fear. In Stevenson, the repressed fear of death manifested itself in Dr. Jekyll's terrifying transformation into Mr. Hyde. In Lewis, the bleeding nun’s terrifying appearance springs from a repression of female sexuality. As we can clearly see, classic gothic has a strong focus on the horrific manifestation of a repressed fear; specifically, repressed fear that results in the fantastic. These fantastic images which spring from repressed fears are how the gothic “articulated the controversial issues of incest, murder, and promiscuous sexuality” which “created an exciting arena for the development of the supernatural” and the fantastic (Mitchell-Peters 110). These controversial issues were the “unspeakable” which is why instead of being directly addressed, they were indirectly present as images of the fantastic and supernatural. This kind of gothic is only in part similar to the southern gothic which Capote encapsulates in his work. Gothic tropes are