Abstract
In order to exemplify the terms that govern his interdiction against lying, Immanuel Kant has recourse to a familiar scenario from the history of moral philosophy: the assassin at the gate. Can one lie in order to redirect a murderer who pursues one's guest? This essay considers how Kant's commitment to truth-telling supersedes his commitment to hospitable practices, and suggests how the peculiarly inhospitable worlds of the gothic novel might depend upon a similar ethical exigency. But great crimes are paroxysms, the sight of which makes one whose soul is healthy shudder. (Immanuel Kant, Metaphysics of Morals 1797)
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