The Mysteries of Udolpho

- By Ann Radcliffe
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English novelist (1764–1823) Not to be confused with the 17th-century benefactor of Harvard, Anne (Radcliffe) Mowlson. Ann RadcliffeBornAnn Ward(1764-07-09)9 July 1764Holborn, London, EnglandDied7 February 1823(1823-02-07) (aged 58)London, EnglandOccupationNovelistNationalityEnglishGenreGothic Ann Radcliffe (née Ward; 9 July 1764 – 7 February 1823) was an English novelist and a pioneer of Gothic fiction. Her technique of explaining apparently supernatural elements in her novels has been credited with gaining respectability for Gothic fiction in the 1790s.[1] Radcliffe was the most popular writer of her day and almost universally admired; contemporary critics called her the mighty enchantress and the Shakespeare of romance-writers, and her popularity continued through the 19th century.[2] Interest in Radcliffe and her work has revived in the early 21st century, with the publication of three biographies.[3] Biography[edit] Early life[edit] Radcliffe was born Ann Ward in Holborn, London on 9 July 1764.[4] She was the only child to William Ward (1737–1798) and Ann Oates (1726–1800), and her mother was 36 years old when she gave birth.[5] Her father worked as a haberdasher in London before moving the family to Bath in 1772 to take over management of a porcelain shop for his business partners Thomas Bentley and Josiah Wedgwood. Both of her parents were relatively well connected. Her father had a famous uncle, William Cheselden, who was Surgeon to King George II, and her mother descended from the De Witt family of Holland and had a cousin, Sir Richard Jebb, who was a fashionable London physician.[5] Growing up, Radcliffe often visited her maternal uncle, Thomas Bentley, in Chelsea, London and later Turnham Green.[5] Bentley was business partners with a fellow Unitarian, Josiah Wedgwood, maker of Wedgwood china. Sukey, Wedgwood's daughter, also stayed in Chelsea and is Radcliffe's only known childhood companion. Sukey later married Dr. Robert Darwin and had a son, the naturalist Charles Darwin. Although mixing in some distinguished circles, Radcliffe seems to have made little impression in this society and was described by Wedgwood as "Bentley's shy niece".[6] Marriage[edit] In 1787, when Radcliffe was 23 years old, she married William Radcliffe (1763–1830), an Oxford-educated journalist. William had initially been a student of law, but he did not complete his legal studies and instead turned his attention to literature and journalism.[7] The couple were married in Bath, but soon after moved to London, where William Radcliffe got a job working for a paper.[5] He wrote for (and soon became the editor of) the Gazetteer and New Daily Advertiser, a campaigning newspaper that "celebrated the French Revolution, freedom of the press, and Dissenters' rights."[8] Ann and William Radcliffe never had children.[5] By many accounts, theirs was a happy marriage. Radcliffe called him her "nearest relative and friend".[3] According to Talfourd's memoir, Ann started writing while her husband remained out late most evenings for work.[9] She published her first novel, The Castles of Athlin and Dunbayne, in 1789 at the age of 25, and published her next four novels in short succession. The money she earned from her novels later allowed her husband to quit his job, and the two of them travelled together, along with their dog, Chance. In 1794, they went to the Netherlands and Germany. This was Radcliffe's only trip abroad, and it became the inspiration for a travelogue, titled A Journey Made in the Summer of 1794, that she published a year later. On this trip, the Radcliffes were initially meant to go on to Switzerland, but this plan was "frustrated by a disobliging official, who refused to believe that they were English, and would not honour their passports."[7] In 1795, William returned as editor of the Gazetteer, and a year later, he purchased the English Chronicle or Universal Evening Post, a Whig newspaper. Ann Radcliffe published The Italian in 1797, the last novel she would publish in her lifetime. She was paid £800 for it, which was three times her husband's yearly income.[8] Later life[edit] In her final years, Radcliffe retreated from public life and was rumoured to have gone insane as a result of her writing.[10] These rumours arose because Radcliffe seemingly abandoned writing after publishing her fifth novel and vanished from the public eye. While these rumours were later proven false, they were so popular that Talfourd's memoir included a statement from her physician that spoke about her mental condition in her later years.[7] Radcliffe remained secluded for 26 years, with no explanation available to her many fans.[11] However, this supposed seclusion is contradicted in The New Monthly Magazine, which states that the tenor of Radcliffe's life was characterized by the rare union of the literary gentlewoman and the active housewife. Instead of being in confinement in Derbyshire, as had been asserted, she was seen, every Sunday, at St James's Church; almost every fine day in Hyde Park; sometimes at the theatres, and very frequently at the Opera.[12] Radcliffe spent the rest of her adult life travelling and living a comfortable life with her husband and their dog, Chance. They travelled domestically almost once a year from 1797 to 1811, and in later years, the Radcliffes hired a carriage during the summer months so that they could make trips to places near London. Radcliffe continued to write.[7] She wrote poetry and another novel, Gaston de Blondeville, which was not published until after her death. She was said to have suffered from asthma, for which she received regular treatment. Death and posthumous work[edit] In 1823, Radcliffe went to Ramsgate, where she caught a fatal chest infection. She died 7 February 1823 at the age of 58 and was buried in a vault in the Chapel of Ease at St George's, Hanover Square, London.[13] Although she had suffered from asthma for twelve years previously,[3] her modern biographer, Rictor Norton, cites the description given by her physician, Dr. Scudamore, of how "a new inflammation seized the membranes of the brain", which led to "violent symptoms" and argues that they suggest a "bronchial infection, leading to pneumonia, high fever, delirium and death."[14] Shortly after her death, Gaston de Blondeville was published by Henry Colburn, featuring A Memoir for the Authoress, the first known biographical piece on Radcliffe.[15] It also contained some of her poetry and her essay "On the Supernatural in Poetry", which outlines her distinction between terror and horror. Christina Rossetti attempted to write a biography of Radcliffe in 1883, but abandoned it for lack of information. For 50 years, biographers stayed away from her as a subject, agreeing with Rossetti's estimation. Rictor Norton, author of Mistress of Udolpho: The Life of Ann Radcliffe (1999), argues that those 50 years were "dominated by interpretation rather than scholarship" where information (specifically on her rumoured madness) was repeated rather than traced to a reliable source.[16] Literary life[edit] Radcliffe published five novels during her lifetime, which she always referred to as "romances". Her first novel, The Castles of Athlin and Dunbayne, was published anonymously in 1789. Early reviews were mostly unenthusiastic.[5] The Monthly Review said that, while the novel was commendable for its morality, it appealed only to women and children: "To men who have passed, or even attained, the meridian of life, a series of events, which seem not to have their foundation in nature, will ever be insipid, if not disgustful”. It was also largely criticized for its anachronisms and inauthentic renderings of the Scottish Highlands.[17] One year later, Radcliffe published her second novel, A Sicilian Romance, which also received little attention. In 1791, she published her third novel, The Romance of the Forest. Like her first two novels, this book was initially published anonymously. On the original title page, it stated that the novel was “By the Authoress of A Sicilian Romance”.[5] The Romance of the Forest was popular with readers, and in the second edition, Radcliffe began adding her own name to the title page. In 1794, three years later, Radcliffe published The Mysteries of Udolpho. At a time when the average amount earned by an author for a manuscript was £10, her publishers, G. G. and J. Robinson, bought the copyright for this novel for £500,[1] and it was a quick success. The money from this novel allowed her and her husband to travel to the Netherlands and Germany, which she described in her travelogue A Journey Made in the Summer of 1794 (1795).[18] In 1797, Radcliffe published The Italian, the last novel published in her lifetime. Cadell and Davies paid £800, making Radcliffe the highest-paid professional writer of the 1790s.[1] This novel was written in response to Matthew Gregory Lewis's The Monk because Radcliffe did not like the direction in which Gothic literature was heading. Nick Groom, writes that in The Italian, Radcliffe "takes the violence and eroticism that so titillated readers of The Monk and subsumes them beneath the veil and the cowl of oppressive Catholicism."[8] A final novel, Gaston de Blondeville was published posthumously in 1826. This novel was published with Talfourd's memoir and Radcliffe's unfinished essay "On the Supernatural in Poetry", which details the difference between the sensation of terror her works aimed to achieve and the horror Lewis sought to evoke.[19] Radcliffe stated that terror aims to stimulate readers through imagination and perceived evils, while horror closes them off through fear and physical dangers:[20] "Terror and Horror are so far opposite, that the first expands the soul and awakens the faculties to a high degree of life; the other contracts, freezes and nearly annihilates them."[21] Radcliffe portrayed her female characters as equal to male characters, allowing them to dominate and overtake the typically powerful male villains and heroes, creating new roles for women in literature previously not available.[22] Radcliffe was also known for including supernatural elements but eventually giving readers a rational explanation for the supernatural. Usually, Radcliffe would reveal the logical excuse for what first appeared to be supernatural towards the end of her novels, which led to heightened suspense. Some critics and readers found this disappointing. Regarding Radcliffe's penchant for explaining the supernatural, Walter Scott writes in Lives of the Novelists (1821–1824): “A stealthy step behind the arras may, doubtless, in some situations, and when the nerves are tuned to a certain pitch, have no small influence upon the imagination; but if the conscious listener discovers it to be only the noise made by the cat, the solemnity of the feeling is gone, and the visionary is at once angry with his sense for having been cheated, and with his reason for having acquiesced in the deception."[23] Some modern critics have been frustrated by her work, as she fails to include "real ghosts". This could be motivated by the idea that works in the Romantic period, from the late 18th century to the mid-19th century, sought to undermine Enlightenment values such as rationalism and realism.[23] Anti-Catholicism[edit] Radcliffe's work have been considered by some scholars to be part of a larger tradition of anti-Catholicism within Gothic literature; her works contain hostile portrayals of both Catholicism and Catholics.[24] The Italian frequently presents Catholicism, the largest religion in Italy, in a negative light. In the novel, Radcliffe portrays Catholic elements such as the Inquisition in a negative light, pointing to its discriminatory practises against non-Catholics. Radcliffe also portrays the confessional as a "danger zone" controlled by the power of the priest and the church.[25] The Mysteries of Udolpho also contained negative portrayals of Catholicism; both novels are set in Catholic-majority Italy, and Catholicism was presented as being part of "ancient Italianess". Italy, along with its Catholicism, had been featured in earlier Gothic literature; Horace Walpole's novel The Castle of Otranto claimed in-universe that it was "found in the library of an ancient catholic family in the north of England" and "printed at Naples, in the black letter, in the year 1529".[26] Some scholars have suggested that Radcliffe's anti-Catholicism was partly a response to the 1791 Roman Catholic Relief Act passed by the British parliament, which was a major component of Catholic emancipation in Great Britain.[24] Other scholars have suggested that Radcliffe was ultimately ambivalent towards Catholicism, claiming that she was a Latitudinarian.[27] Gothic landscapes[edit] Radcliffe used the framing narrative of personifying nature in many of her novels. For example, she believed that the sublime motivated the protagonist to create an image that was more idealistic within the plot.[28] Her elaborate descriptions of landscape were influenced by the painters Claude Lorrain, Nicolas Poussin, and Salvator Rosa.[6] She often wrote about places she had never visited. Lorrain's influence can be seen through Radcliffe's picturesque, romantic descriptions, for example in the first volume of The Mysteries of Udolpho. Rosa's influence can be seen through dark landscapes and elements of the Gothic. Radcliffe once said of Claude:[3]In a shaded corner, near the chimney, a most exquisite Claude, an evening view, perhaps over the Campagna of Rome. The sight of this picture imparted much of the luxurious repose and satisfaction, which we derive from contemplating the finest scenes of nature. Here was the poet, as well as the painter, touching the imagination, and making you see more than the picture contained. You saw the real light of the sun, you breathed the air of the country, you felt all the circumstances of a luxurious climate on the most serene and beautiful landscape; and the mind thus softened, you almost fancied you hear Italian music in the air. Influence on later writers[edit]   "I have read all Mrs. Radcliffe’s works, and most of them with great pleasure. The Mysteries of Udolpho, when I had once begun it, I could not lay down again;—I remember finishing it in two days—my hair standing on end the whole time."[29]  — Jane Austen, Northanger Abbey (1817) Radcliffe influenced many later authors, both by inspiring more Gothic fiction and by inspiring parodies. In the eighteenth century, she inspired writers like Matthew Lewis (1775 – 1818) and the Marquis de Sade (1740–1814), who praised her work but produced more intensely violent fiction. Radcliffe is known for having spawned a large number of imitators of the "Radcliffe School", such as Harriet Lee and Catherine Cuthbertson. Jane Austen (1775–1817) parodied The Mysteries of Udolpho in Northanger Abbey (1817), and she defined her fiction as a contrast to Radcliffe and writers like her. Scholars have also perceived other apparent allusions to Radcliffe's novels and life in Austen's work.[30] In the early nineteenth century, Radcliffe influenced Edgar Allan Poe (1809–1849), and Sir Walter Scott (1771–1832). Scott interspersed his work with poems in a similar manner to Radcliffe, and one assessment of her reads, "Scott himself said that her prose was poetry and her poetry was prose. She was, indeed, a prose poet, in both the best and the worst senses of the phrase. The romantic landscape, the background, is the best thing in all her books; the characters are two dimensional, the plots far fetched and improbable, with 'elaboration of means and futility of result'."[31] Later in the nineteenth century, Charlotte and Emily Brontë continued Radcliffe's Gothic tradition with their novels Jane Eyre, Villette, and Wuthering Heights. Radcliffe was also admired by French authors including Honoré de Balzac (1799 – 1850), Victor Hugo (1802 – 1885), Alexandre Dumas (1802 – 1870), George Sand (1804-1876), and Charles Baudelaire (1821 – 1867).[32] Honoré de Balzac's novel of the supernatural L'Héritière de Birague (1822) follows and parodies Radcliffe's style.[33] As a child, Fyodor Dostoyevsky was deeply impressed by Radcliffe. In Winter Notes on Summer Impressions (1863) he writes, "I used to spend the long winter hours before bed listening (for I could not yet read), agape with ecstasy and terror, as my parents read aloud to me from the novels of Ann Radcliffe. Then I would rave deliriously about them in my sleep." A number of scholars have noted elements of Gothic literature in Dostoyevsky's novels,[34] and some have tried to show direct influence of Radcliffe's work.[35] In 1875, Paul Féval wrote a story starring Radcliffe as a vampire hunter, titled La Ville Vampire: Adventure Incroyable de Madame Anne Radcliffe ("City of Vampires: The Incredible Adventure of Mrs. Anne Radcliffe"), which blends fiction and history.[36] In popular culture[edit] Helen McCrory plays Ann Radcliffe in the 2007 film Becoming Jane, starring Anne Hathaway as Jane Austen. The film depicts Radcliffe meeting the young Jane Austen and encouraging her to pursue a literary career. No evidence exists that such a meeting ever occurred. Books[edit] The Castles of Athlin and Dunbayne (1789) A Sicilian Romance (1790) The Romance of the Forest (1791) The Mysteries of Udolpho (1794) A Journey Made in the Summer of 1794 (1795)[37] The Italian (1797) Gaston de Blondeville (1826) St. Albans Abbey, a Metrical Tale; with some Poetical Pieces (1826) References[edit] ^ a b c The British Library Retrieved 12 November 2016. ^ "Ann Radcliffe". ^ a b c d Chawton House Library: Ruth Facer, "Ann Radcliffe (1764–1823)", retrieved 1 December 2012. ^ Miles, Robert (2005). "Radcliffe [née Ward], Ann (1764–1823), novelist". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/22974. Retrieved 25 May 2020. (Subscription or UK public library membership required.) ^ a b c d e f g Rogers, Deborah D. (1996). Ann Radcliffe : a bio-bibliography. Westport, Conn.: Greenwood Press. ISBN 0-313-28379-6. OCLC 33207099. ^ a b Norton, Rictor (1999). Mistress of Udolpho: The Life of Ann Radcliffe. London: Leicester University Press. pp. 26–33. ^ a b c d McIntyre, Clara Frances (1920). Ann Radcliffe in Relation to Her Time. Yale University Press. ^ a b c Groom, Nick. Introduction. The Italian, or the Confessional of the Black Penitents: A Romance, by Ann Radcliffe, Oxford UP, 2017, pp. ix–xli. ^ Talfourd, Thomas Noon. “Memoir of the life and writings of Mrs. Radcliffe” in Ann Radcliffe, Gaston de Blondeville, Vol.1, pp. 1–132, 1826. ^ "The Life of Ann Radcliffe". rictornorton.co.uk. Retrieved 13 December 2019. ^ Norton, Rictor (1999). Mistress of Udolpho: the life of Ann Radcliffe. London: Leicester University Press. p. 3. ISBN 978-1-84714-269-6. OCLC 657392599. ^ The New Monthly magazine, 1826, Volume 16, page 115. ^ McIntyre, Clara Frances (1920). Ann Radcliffe in Relation to Her Time. Yale University Press. ^ Norton, Rictor (1999). Mistress of Udolpho: The Life of Ann Radcliffe. London: Leicester University Press. p. 243. ^ Ward Radcliffe, Ann (1833). The Posthumous Works of Anne Radcliffe ... To Which Is Prefixed a Memoir of the Authoress, with Extracts from her Private Journals. (Four Volumes). London: Henry Colburn. OCLC 2777722. ^ Rictor Norton (1999). Mistress of Udolpho: The Life of Ann Radcliffe. Bloomsbury Publishing. pp. VII. ISBN 978-1-84714-269-6. ^ The Critical response to Ann Radcliffe. Deborah D. Rogers. Westport, Conn.: Greenwood Press. 1994. ISBN 0-313-28031-2. OCLC 28586837.{{cite book}}: CS1 maint: others (link) ^ "Ann Radcliffe | English author". Encyclopedia Britannica. Retrieved 8 May 2019. ^ Dr. Lilia Melani. "Gothic History" (PDF). Archived (PDF) from the original on 9 October 2022. Retrieved 3 May 2012.[permanent dead link] ^ Eighteenth Century Lit, Ann Radcliffe's Gothic, The Mysteries of Udolpho: Discover the secrets within.... ^ "Radcliffe, On the Supernatural, p. 1". academic.brooklyn.cuny.edu. ^ Pourteau, Leslie Katherine (1997). 'The Pride of Conscious Worth': Characterization of the Female in the Novels of Ann Radcliffe (PhD dissertation). Texas A&M University. pp. 1–9 – via ProQuest. ^ a b Miller, Adam (2016). "Ann Radcliffe's Scientific Romance". Eighteenth-Century Fiction. 28 (3): 527–545. doi:10.3138/ecf.28.3.527. ISSN 0840-6286. S2CID 170625158. ^ a b Mulvey-Roberts, Marie (2016). "Catholicism, the Gothic and the bleeding body". Dangerous bodies: Historicising the Gothic corporeal. Manchester University Press. pp. 14–51. doi:10.7228/manchester/9780719085413.003.0002. ISBN 978-0719085413. JSTOR j.ctt18pkdzg.6. ^ Hoeveler, Diane Long (2014). "Anti-Catholicism and the Gothic Ideology: Interlocking Discourse Networks". The Gothic Ideology: Religious Hysteria and Anti-Catholicism in British Popular Fiction, 1780–1880. Gothic Literary Studies (1 ed.). University of Wales Press. pp. 15–50. ISBN 978-1783160488. JSTOR j.ctt9qhfdt.6. ^ Schmitt, Cannon (1994). "Techniques of Terror, Technologies of Nationality: Ann Radcliffe's the Italian". ELH. 61 (4): 853–876. doi:10.1353/elh.1994.0040. JSTOR 2873361. S2CID 161155282. ^ Mayhew, Robert J. (2002). "Latitudinarianism and the Novels of Ann Radcliffe". Texas Studies in Literature and Language. 44 (3): 273–301. doi:10.1353/tsl.2002.0015. JSTOR 40755365. S2CID 161768388. ^ Brabon, Benjamin (2006). "Surveying Ann Radcliffe's Gothic Landscapes". Literature Compass. 3 (4): 840–845. doi:10.1111/j.1741-4113.2006.00357.x. ^ Austen Northanger Abbey, 33–34. ^ William Baker, Critical Companion to Jane Austen: A Literary Reference to Her Life and Work (Facts on File, 2007); see entry on Radcliffe, p. 578. ^ Stanley Kunitz and Howard Haycraft, eds, British Authors Before 1800: A Biographical Dictionary (NY: H. W. Wilson, 1952), p. 427. ^ "Ann Radcliffe". Academic Brooklyn. Retrieved 5 May 2020. ^ Samuel Rogers, Balzac and the Novel (Octagon Books, 1969), p. 21. ^ Berry, Robert. "Gothicism in Conrad and Dostoevsky". Retrieved 18 October 2014. ^ Bowers, Katherine. "Dostoevsky's Gothic Blueprint: the Notebooks to The Idiot". Archived from the original on 22 October 2014. Retrieved 17 October 2014. ^ Gibson, Matthew (2013). "'A Life in Death, a Death in Life': the Legitimist Novels of Paul Féval and the Catastrophe of the Second Empire". The Fantastic and European Gothic: History, Literature and the French Revolution. ISBN 978-0-7083-2572-8. ^ Radcliffe, Ann Ward (1795). A journey made in the summer of 1794, through Holland and the western frontier of Germany, with a return down the Rhine; to which are added, observations during a tour to the lakes of Lancashire, Westmoreland, and Cumberland. Robarts – University of Toronto. London : G.G. and J. Robinson. Further reading[edit] Cody, David (July 2000). "Ann Radcliffe: An Evaluation". The Victorian Web: An Overview. Retrieved 1 December 2010. "Ann Radcliffe". Brooklyn College English Department. 9 May 2003. Retrieved 15 June 2015. Miles, Robert. Ann Radcliffe: The Great Enchantress. United Kingdom, Manchester University Press, 1995. McIntyre, Clara Frances. Ann Radcliffe in Relation to Her Time. United Kingdom, Yale University Press, 1920. Murray, E. B. Ann Radcliffe. Twayne Publishers, Incorporated, New York, 1972. Norton, Rictor (1999). Mistress of Udolpho: The Life of Ann Radcliffe. Rogers, Deborah (1996). Ann Radcliffe: A Bio-Bibliography. ISBN 978-0-313-28379-6. Rogers, Deborah. The Critical Responses to Ann Radcliffe External links[edit] Library resources about Ann Radcliffe Online books Resources in your library Resources in other libraries By Ann Radcliffe Online books Resources in your library Resources in other libraries Wikiquote has quotations related to Ann Radcliffe. Wikisource has original works by or about:Ann Radcliffe Works by Ann Radcliffe in eBook form at Standard Ebooks Works by Ann Radcliffe at Project Gutenberg Works by Ann Radcliffe at Faded Page (Canada) Works by or about Ann Radcliffe at Internet Archive Works by Ann Radcliffe at LibriVox (public domain audiobooks) Garnett, Richard (1896). "Radcliffe, Ann" . In Lee, Sidney (ed.). Dictionary of National Biography. Vol. 47. London: Smith, Elder & Co. Listing in 'The Literary Gothic' Listing in The Victorian Web vteAnn RadcliffeNovels The Castles of Athlin and Dunbayne (1789) A Sicilian Romance (1790) The Romance of the Forest (1791) The Mysteries of Udolpho (1794) The Italian (1797) Gaston de Blondeville (1826) Travel writing A Journey Made in the Summer of 1794 (1795) Authority control databases International FAST ISNI VIAF National Norway Spain France BnF data Catalonia Germany Italy Israel Belgium United States Sweden Latvia Japan Czech Republic Australia Greece Korea Croatia Netherlands Poland Portugal Vatican Academics CiNii 2 People Deutsche Biographie Trove Other RISM SNAC IdRef
CHAPTER II I could a tale unfold, whose lightest word Would harrow up thy soul. SHAKESPEARE
Madame St. Aubert was interred in the neighbouring village church; her husband and daughter attended her to the grave, followed by a long train of the peasantry, who were sincere mourners of this excellent woman.
On his return from the funeral, St. Aubert shut himself in his chamber. When he came forth, it was with a serene countenance, though pale in sorrow. He gave orders that his family should attend him. Emily only was absent; who, overcome with the scene she had just witnessed, had retired to her closet to weep alone. St. Aubert followed her thither: he took her hand in silence, while she continued to weep; and it was some moments before he could so far command his voice as to speak. It trembled while he said, 'My Emily, I am going to prayers with my family; you will join us. We must ask support from above. Where else ought we to seek it-where else can we find it?'
Emily checked her tears, and followed her father to the parlour, where, the servants being assembled, St. Aubert read, in a low and solemn voice, the evening service, and added a prayer for the soul of the departed. During this, his voice often faltered, his tears fell upon the book, and at length he paused. But the sublime emotions of pure devotion gradually elevated his views above this world, and finally brought comfort to his heart.
When the service was ended, and the servants were withdrawn, he tenderly kissed Emily, and said, 'I have endeavoured to teach you, from your earliest youth, the duty of self-command; I have pointed out to you the great importance of it through life, not only as it preserves us in the various and dangerous temptations that call us from rectitude and virtue, but as it limits the indulgences which are termed virtuous, yet which, extended beyond a certain boundary, are vicious, for their consequence is evil. All excess is vicious; even that sorrow, which is amiable in its origin, becomes a selfish and unjust passion, if indulged at the expence of our duties-by our duties I mean what we owe to ourselves, as well as to others. The indulgence of excessive grief enervates the mind, and almost incapacitates it for again partaking of those various innocent enjoyments which a benevolent God designed to be the sun-shine of our lives. My dear Emily, recollect and practise the precepts I have so often given you, and which your own experience has so often shewn you to be wise.
'Your sorrow is useless. Do not receive this as merely a commonplace remark, but let reason THEREFORE restrain sorrow. I would not annihilate your feelings, my child, I would only teach you to command them; for whatever may be the evils resulting from a too susceptible heart, nothing can be hoped from an insensible one; that, on the other hand, is all vice-vice, of which the deformity is not softened, or the effect consoled for, by any semblance or possibility of good. You know my sufferings, and are, therefore, convinced that mine are not the light words which, on these occasions, are so often repeated to destroy even the sources of honest emotion, or which merely display the selfish ostentation of a false philosophy. I will shew my Emily, that I can practise what I advise. I have said thus much, because I cannot bear to see you wasting in useless sorrow, for want of that resistance which is due from mind; and I have not said it till now, because there is a period when all reasoning must yield to nature; that is past: and another, when excessive indulgence, having sunk into habit, weighs down the elasticity of the spirits so as to render conquest nearly impossible; this is to come. You, my Emily, will shew that you are willing to avoid it.'
Emily smiled through her tears upon her father: 'Dear sir,' said she, and her voice trembled; she would have added, 'I will shew myself worthy of being your daughter;' but a mingled emotion of gratitude, affection, and grief overcame her. St. Aubert suffered her to weep without interruption, and then began to talk on common topics.
The first person who came to condole with St. Aubert was a M. Barreaux, an austere and seemingly unfeeling man. A taste for botany had introduced them to each other, for they had frequently met in their wanderings among the mountains. M. Barreaux had retired from the world, and almost from society, to live in a pleasant chateau, on the skirts of the woods, near La Vallee. He also had been disappointed in his opinion of mankind; but he did not, like St. Aubert, pity and mourn for them; he felt more indignation at their vices, than compassion for their weaknesses.
St. Aubert was somewhat surprised to see him; for, though he had often pressed him to come to the chateau, he had never till now accepted the invitation; and now he came without ceremony or reserve, entering the parlour as an old friend. The claims of misfortune appeared to have softened down all the ruggedness and prejudices of his heart. St. Aubert unhappy, seemed to be the sole idea that occupied his mind. It was in manners, more than in words, that he appeared to sympathize with his friends: he spoke little on the subject of their grief; but the minute attention he gave them, and the modulated voice, and softened look that accompanied it, came from his heart, and spoke to theirs.
At this melancholy period St. Aubert was likewise visited by Madame Cheron, his only surviving sister, who had been some years a widow, and now resided on her own estate near Tholouse. The intercourse between them had not been very frequent. In her condolements, words were not wanting; she understood not the magic of the look that speaks at once to the soul, or the voice that sinks like balm to the heart: but she assured St. Aubert that she sincerely sympathized with him, praised the virtues of his late wife, and then offered what she considered to be consolation. Emily wept unceasingly while she spoke; St. Aubert was tranquil, listened to what she said in silence, and then turned the discourse upon another subject.
At parting she pressed him and her niece to make her an early visit. 'Change of place will amuse you,' said she, 'and it is wrong to give way to grief.' St. Aubert acknowledged the truth of these words of course; but, at the same time, felt more reluctant than ever to quit the spot which his past happiness had consecrated. The presence of his wife had sanctified every surrounding scene, and, each day, as it gradually softened the acuteness of his suffering, assisted the tender enchantment that bound him to home.
But there were calls which must be complied with, and of this kind was the visit he paid to his brother-in-law M. Quesnel. An affair of an interesting nature made it necessary that he should delay this visit no longer, and, wishing to rouse Emily from her dejection, he took her with him to Epourville.
As the carriage entered upon the forest that adjoined his paternal domain, his eyes once more caught, between the chesnut avenue, the turreted corners of the chateau. He sighed to think of what had passed since he was last there, and that it was now the property of a man who neither revered nor valued it. At length he entered the avenue, whose lofty trees had so often delighted him when a boy, and whose melancholy shade was now so congenial with the tone of his spirits. Every feature of the edifice, distinguished by an air of heavy grandeur, appeared successively between the branches of the trees-the broad turret, the arched gate-way that led into the courts, the drawbridge, and the dry fosse which surrounded the whole.
The sound of carriage wheels brought a troop of servants to the great gate, where St. Aubert alighted, and from which he led Emily into the gothic hall, now no longer hung with the arms and ancient banners of the family. These were displaced, and the oak wainscotting, and beams that crossed the roof, were painted white. The large table, too, that used to stretch along the upper end of the hall, where the master of the mansion loved to display his hospitality, and whence the peal of laughter, and the song of conviviality, had so often resounded, was now removed; even the benches that had surrounded the hall were no longer there. The heavy walls were hung with frivolous ornaments, and every thing that appeared denoted the false taste and corrupted sentiments of the present owner.
St. Aubert followed a gay Parisian servant to a parlour, where sat Mons. and Madame Quesnel, who received him with a stately politeness, and, after a few formal words of condolement, seemed to have forgotten that they ever had a sister.
Emily felt tears swell into her eyes, and then resentment checked them. St. Aubert, calm and deliberate, preserved his dignity without assuming importance, and Quesnel was depressed by his presence without exactly knowing wherefore.
After some general conversation, St. Aubert requested to speak with him alone; and Emily, being left with Madame Quesnel, soon learned that a large party was invited to dine at the chateau, and was compelled to hear that nothing which was past and irremediable ought to prevent the festivity of the present hour.
St. Aubert, when he was told that company were expected, felt a mixed emotion of disgust and indignation against the insensibility of Quesnel, which prompted him to return home immediately. But he was informed, that Madame Cheron had been asked to meet him; and, when he looked at Emily, and considered that a time might come when the enmity of her uncle would be prejudicial to her, he determined not to incur it himself, by conduct which would be resented as indecorous, by the very persons who now showed so little sense of decorum.
Among the visitors assembled at dinner were two Italian gentlemen, of whom one was named Montoni, a distant relation of Madame Quesnel, a man about forty, of an uncommonly handsome person, with features manly and expressive, but whose countenance exhibited, upon the whole, more of the haughtiness of command, and the quickness of discernment, than of any other character.
Signor Cavigni, his friend, appeared to be about thirty-inferior in dignity, but equal to him in penetration of countenance, and superior in insinuation of manner. Emily was shocked by the salutation with which Madame Cheron met her father-'Dear brother,' said she, 'I am concerned to see you look so very ill; do, pray, have advice!' St. Aubert answered, with a melancholy smile, that he felt himself much as usual; but Emily's fears made her now fancy that her father looked worse than he really did.
Emily would have been amused by the new characters she saw, and the varied conversation that passed during dinner, which was served in a style of splendour she had seldom seen before, had her spirits been less oppressed. Of the guests, Signor Montoni was lately come from Italy, and he spoke of the commotions which at that period agitated the country; talked of party differences with warmth, and then lamented the probable consequences of the tumults. His friend spoke with equal ardour, of the politics of his country; praised the government and prosperity of Venice, and boasted of its decided superiority over all the other Italian states. He then turned to the ladies, and talked with the same eloquence, of Parisian fashions, the French opera, and French manners; and on the latter subject he did not fail to mingle what is so particularly agreeable to French taste. The flattery was not detected by those to whom it was addressed, though its effect, in producing submissive attention, did not escape his observation. When he could disengage himself from the assiduities of the other ladies, he sometimes addressed Emily: but she knew nothing of Parisian fashions, or Parisian operas; and her modesty, simplicity, and correct manners formed a decided contrast to those of her female companions.
After dinner, St. Aubert stole from the room to view once more the old chesnut which Quesnel talked of cutting down. As he stood under its shade, and looked up among its branches, still luxuriant, and saw here and there the blue sky trembling between them; the pursuits and events of his early days crowded fast to his mind, with the figures and characters of friends-long since gone from the earth; and he now felt himself to be almost an insulated being, with nobody but his Emily for his heart to turn to.
He stood lost amid the scenes of years which fancy called up, till the succession closed with the picture of his dying wife, and he started away, to forget it, if possible, at the social board. St. Aubert ordered his carriage at an early hour, and Emily observed, that he was more than usually silent and dejected on the way home; but she considered this to be the effect of his visit to a place which spoke so eloquently of former times, nor suspected that he had a cause of grief which he concealed from her.
On entering the chateau she felt more depressed than ever, for she more than ever missed the presence of that dear parent, who, whenever she had been from home, used to welcome her return with smiles and fondness; now, all was silent and forsaken.
But what reason and effort may fail to do, time effects. Week after week passed away, and each, as it passed, stole something from the harshness of her affliction, till it was mellowed to that tenderness which the feeling heart cherishes as sacred. St. Aubert, on the contrary, visibly declined in health; though Emily, who had been so constantly with him, was almost the last person who observed it. His constitution had never recovered from the late attack of the fever, and the succeeding shock it received from Madame St. Aubert's death had produced its present infirmity. His physician now ordered him to travel; for it was perceptible that sorrow had seized upon his nerves, weakened as they had been by the preceding illness; and variety of scene, it was probable, would, by amusing his mind, restore them to their proper tone.
For some days Emily was occupied in preparations to attend him; and he, by endeavours to diminish his expences at home during the journey-a purpose which determined him at length to dismiss his domestics. Emily seldom opposed her father's wishes by questions or remonstrances, or she would now have asked why he did not take a servant, and have represented that his infirm health made one almost necessary. But when, on the eve of their departure, she found that he had dismissed Jacques, Francis, and Mary, and detained only Theresa the old housekeeper, she was extremely surprised, and ventured to ask his reason for having done so. 'To save expences, my dear,' he replied-'we are going on an expensive excursion.'
The physician had prescribed the air of Languedoc and Provence; and St. Aubert determined, therefore, to travel leisurely along the shores of the Mediterranean, towards Provence. They retired early to their chamber on the night before their departure; but Emily had a few books and other things to collect, and the clock had struck twelve before she had finished, or had remembered that some of her drawing instruments, which she meant to take with her, were in the parlour below. As she went to fetch these, she passed her father's room, and, perceiving the door half open, concluded that he was in his study-for, since the death of Madame St. Aubert, it had been frequently his custom to rise from his restless bed, and go thither to compose his mind. When she was below stairs she looked into this room, but without finding him; and as she returned to her chamber, she tapped at his door, and receiving no answer, stepped softly in, to be certain whether he was there.
The room was dark, but a light glimmered through some panes of glass that were placed in the upper part of a closet-door. Emily believed her father to be in the closet, and, surprised that he was up at so late an hour, apprehended he was unwell, and was going to enquire; but, considering that her sudden appearance at this hour might alarm him, she removed her light to the stair-case, and then stepped softly to the closet. On looking through the panes of glass, she saw him seated at a small table, with papers before him, some of which he was reading with deep attention and interest, during which he often wept and sobbed aloud. Emily, who had come to the door to learn whether her father was ill, was now detained there by a mixture of curiosity and tenderness. She could not witness his sorrow, without being anxious to know the subject of; and she therefore continued to observe him in silence, concluding that those papers were letters of her late mother. Presently he knelt down, and with a look so solemn as she had seldom seen him assume, and which was mingled with a certain wild expression, that partook more of horror than of any other character, he prayed silently for a considerable time.
When he rose, a ghastly paleness was on his countenance. Emily was hastily retiring; but she saw him turn again to the papers, and she stopped. He took from among them a small case, and from thence a miniature picture. The rays of light fell strongly upon it, and she perceived it to be that of a lady, but not of her mother.
St. Aubert gazed earnestly and tenderly upon his portrait, put it to his lips, and then to his heart, and sighed with a convulsive force. Emily could scarcely believe what she saw to be real. She never knew till now that he had a picture of any other lady than her mother, much less that he had one which he evidently valued so highly; but having looked repeatedly, to be certain that it was not the resemblance of Madame St. Aubert, she became entirely convinced that it was designed for that of some other person.
At length St. Aubert returned the picture to its case; and Emily, recollecting that she was intruding upon his private sorrows, softly withdrew from the chamber.

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Word Lists:

Chateau : a large French country house or castle, often giving its name to wine made in its neighborhood

Indecorous : not in keeping with good taste and propriety; improper.

Gothic : relating to the Goths or their extinct East Germanic language, which provides the earliest manuscript evidence of any Germanic language (4thu20136th centuries AD).

Irremediable : impossible to cure or put right

Incapacitate : prevent from functioning in a normal way

Haughtiness : the appearance or quality of being arrogantly superior and disdainful

Prejudicial : harmful to someone or something; detrimental

Convivial : (of an atmosphere or event) friendly, lively, and enjoyable

Enervate : cause (someone) to feel drained of energy or vitality; weaken

Unceasingly :

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Additional Information:

Rating: C Words in the Passage: 3146 Unique Words: 1,038 Sentences: 132
Noun: 739 Conjunction: 301 Adverb: 214 Interjection: 3
Adjective: 184 Pronoun: 358 Verb: 583 Preposition: 405
Letter Count: 14,264 Sentiment: Positive / Positive / Positive Tone: Neutral (Slightly Conversational) Difficult Words: 672
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