DOCSLIB.ORG

The Mysteries of Udolpho: a Romance PDF Book

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Mysteries of Udolpho: a Romance PDF Book THE MYSTERIES OF UDOLPHO: A ROMANCE PDF, EPUB, EBOOK Ann Radcliffe,Jacqueline Howard | 704 pages | 20 Feb 2008 | Penguin Books Ltd | 9780140437591 | English | London, United Kingdom The Mysteries of Udolpho: A Romance PDF Book Ann Radcliffe devouts many passages describing the romantic scenery of France and Italy. Aubert was renovated. By a man of such a disposition, it is not surprising that the virtues of St. View 2 comments. Though sometimes at the price of coming up with explanations so absurd that a ghost would actually work better, fictionally speaking, as in the mystery of how Ludovico vanished from the locked room. Adjoining the eastern side of the green-house, looking towards the plains of Languedoc, was a room, which Emily called hers, and which contained her books, her drawings, her musical instruments, with some favourite birds and plants. Mar 18, Jane Greensmith rated it really liked it. It is one of the most famous English Gothic novels. Claire, a dreadful victim to unresisted passion. Aubert went himself, and found Michael quarrelling with the hostess, because she had refused to let his mules lie in a little room where he and three of her sons were to pass the night. By signing up, you agree to our Privacy Notice. Aubert, calm and deliberate, preserved his dignity without assuming importance, and Quesnel was depressed by his presence without exactly knowing wherefore. Image is from this terrific piece on Gothic novels, which is just about my favorite thing ever. A train of gloomy ideas haunted her mind, till she fell asleep. It was late when St. The lines go in a sort of tripping measure, which I thought might suit the subject well enough, but I fear they are too irregular. She was written to be the ideal of an 18th century woman, I mean she sacrificed her happiness over the perception of propriety, not my kind of gal. Valancourt, who heard these calls, and also the repeated name of Emily, instantly understood the subject of his distress; and, almost forgetting his own condition, he hastened to her relief. Other cottages, which they examined, seemed somewhat less savage than the former, consisting of two rooms, if such they could be called; the first of these occupied by mules and pigs, the second by the family, which generally consisted of six or eight children, with their parents, who slept on beds of skins and dried beech leaves, spread upon a mud floor. Montoni and Madame Charone , but I did dislike the extensive descriptions of scenery that seemed to go on forever. The Mysteries of Udolpho: A Romance Writer A great deal of the charm of this book, however, comes from the characters' appreciation of the beauty and power of landscapes: fathers educate daughters through landscapes,lovers gaze and comment upon landscapes to each other, evaluate the sincerity and subtlety of one another's character and consciousness based on their reaction to landscapes, and later, when circumstances have forced them apart, they will comfort themselves with the solitary contemplation of landscapes. Aubert remembered the last time of his visiting that spot in company with her, and also the mournfully presaging thoughts which had then arisen in his mind, and were now, even thus soon, realised! At this melancholy period St. She also experiments here with interspersing poems nominally composed by the characters in several places in the text. The mountain-ash too, and the weeping birch, often threw their pendant foliage over the steeps above, where the scanty soil scarcely concealed their roots, and where their light branches waved to every breeze that fluttered from the mountains. Finally, if you do take the plunge and decide to read this definitive Gothic novel, make sure you read the Penguin edition. Do you see nothing tripping yonder? Ann Radcliffe. Aubert had too nice a sense of honour to fulfil the latter hope, and too small a portion of ambition to sacrifice what he called happiness, to the attainment of wealth. But he effectually concealed this from her, and from his daughter, whom he endeavoured to reanimate with hopes that her constant assiduities would not be unavailing. Soon after this period, her anxiety was awakened by the indisposition of her father, who was attacked with a fever; which, though not thought to be of a dangerous kind, gave a severe shock to his constitution. If you want a cute and light romance I suggest checking out books by Georgette Heyer. Albans Abbey: A Metrical Tale were published posthumously. And I write that as a Protestant, but a Protestant who deprecates animosity towards any religious group, and particularly hostility of different bodies of Christians towards each other. Often cited as the archetypal Gothic novel , The Mysteries of Udolpho and Radcliffe's The Romance of the Forest appear prominently in Jane Austen 's novel Northanger Abbey , where an impressionable young woman reader comes to see friends and acquaintances as Gothic villains and victims, with amusing results. Between the distress of this circumstance and that of leaving Valancourt bleeding, he scarcely knew what he did; he endeavoured, however, to raise her, and called to Michael to fetch water from the rivulet that flowed by the road, but Michael was gone beyond the reach of his voice. She had discovered in her early years uncommon delicacy of mind, warm affections, and ready benevolence; but with these was observable a degree of susceptibility too exquisite to admit of lasting peace. Though again her tendency to tell rather than show can make her sound a bit preachy in places, and the ending had a certain Aesop's Fables, " The travellers sat for some time wrapt in the complacency which such scenes inspire. How then are we to look for love in great cities, where selfishness, dissipation, and insincerity supply the place of tenderness, simplicity and truth? When he reached it, he saw only two little children, at play, on the turf before the door. Here, under the ample shade of a plane-tree, that spread its majestic canopy towards the river, St. Quotes from The Mysteries of The Mysteries of Udolpho: A Romance Reviews On the following day, symptoms of fever appeared, and St. After the death of his father he married a very amiable woman, his equal in birth, and not his superior in fortune. Many frightening but coincidental events happen in the castle, but Emily manages to flee with the help of a secret admirer, Du Pont, also a prisoner there, and of the servants Annette and Ludovico. All Digital Collections. He plans to marry her to one of his friends Count Morano. Aubert, who could no longer doubt his purpose, was with difficulty able to prepare a pistol for his defence, when his hand was upon the door of the chaise. Aubert returned the picture to its case; and Emily, recollecting that she was intruding upon his private sorrows, softly withdrew from the chamber. Her characterizations are not particularly sharp --though, in fairness, several are sharper than others, and she can also scrutinize and skewer some characters' moral inadequacy and social pretension, in a few isolated passages, that foreshadow writers like Austen. Just when the nasty aunt finally agrees to let Emily be wed to Valancourt after it becomes clear that Valancourt is actually As a fan of Austen's Northanger Abbey, I wanted to read this just to find out what all the fuss was about. Of its distance Valancourt could not assist him to judge, for he had never been so far along this chain of Alps before. He had arms with him, which, on an emergency, might afford some protection, though certainly a very unequal one, against a band of robbers, so desperate too as those usually were who haunted these wild regions. Terry Castle On a lofty terrace, formed by the swelling bank of the river, rose a plantation of orange, lemon, and palm-trees, whose fruit, in the coolness of evening, breathed delicious fragrance. An excellent book considered one of the masterpieces of early Gothic literature, it left me with the best impressions and filled many hours with literary beauty. Don't get me wrong, classic books are great I love To Kill A Mockingbird and Anne of Green Gables for instance but the trouble with classic books is that some of them are highly acclaimed just because they've been categorized as being classic, and it's expected that any book lover would fall in love with a classic novel because it's earned its respect. Give me a break. I determined, therefore, since my object was merely amusement, to change the scene; and I took this road, because I knew it led through a more romantic tract of mountains than the spot I have left. Valancourt was silent, but laid his hand on one of St. Aubert from this spot, her lute was left on a window seat. She would not acknowledge, even to herself, that she had in any degree provoked contempt by her duplicity, but weakly persisted in believing, that she alone was to be pitied…. The Mysteries of Udolpho: A Romance Read Online Britannica Quiz. Aubert should be overlooked; or that his pure taste, simplicity, and moderated wishes, were considered as marks of a weak intellect, and of confined views. She would not acknowledge, even to herself, that she had in any degree provoked contempt by her duplicity, but weakly persisted in believing, that she alone was to be pitied…. Emily is a contemplative person, given herself over to many long sighs, and indulging in pleasurable melancholy about her future.
Load more

Recommended publications
  • Reading the Sound World of Gothic Literature with Topic Modeling and Text Analysis.” Digital Studies/Le Champ Numérique 10(1): 9, Pp
    Research How to Cite: Wikle, Olivia. 2020. “Listening at a Distance: Reading the Sound World of Gothic Literature with Topic Modeling and Text Analysis.” Digital Studies/Le champ numérique 10(1): 9, pp. 1–33. DOI: https://doi. org/10.16995/dscn.333 Published: 15 October 2020 Peer Review: This is a peer-reviewed article in Digital Studies/Le champ numérique, a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Digital Studies/Le champ numérique is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Wikle, Olivia 2020. “Listening at a Distance: Reading the Sound World of Gothic Literature with Topic Modeling and Text Analysis.” Digital Studies/Le champ numérique 10(1): 9, pp. 1–33. DOI: https://doi.org/10.16995/dscn.333 RESEARCH Listening at a Distance: Reading the Sound World of Gothic Literature with Topic Modeling and Text Analysis Olivia Wikle University of Idaho, US [email protected] Traditionally text-focused digital humanities tools can assist in sound studies research by revealing patterns in how sound is described in historical text. When combined with close reading, these patterns facilitate insight into how sound was interpreted and communicated in time periods for which no sound recording technology existed.
    [Show full text]
  • 49 Ann Radcliffe.Pdf
    .Ann 'Rgdcliffe (1764-1823) Ann Radcliffe is best known today as the founder of an exceedingly in­ fluential and popular school of gothic fiction whose villains prefigured the Byronic hero and whose success inspired many imitations and parodies, the best known among them Jane Austen's Northanger Abbey. During the 1790s Radcliffe was the best-selling of all British novelists-read and translated more than any other. When she died, the Edinburgh Magazine and Literary Mis­ cellany observed, "Mrs Radcliffe has long borne undisputed, an almost solitary sway over the regions of romance." 1 Walter Scott said, "Mrs Radcliffe has a title to be considered as the first poetess of romantic fiction." 2 But Radcliffe's personal history is as obscure as her fame was wide. The Edinburgh Review noted that "the fair authoress kept herself almost as much incognito as the Author of Waverley; nothing was known of her but her name on the title page. She never appeared in public, nor mingled in private society, but kept herself apart, like the sweet bird that sings its solitary notes." 3 This may have been a slight exaggeration, but many years after Radcliffe's death, when Christina Rossetti attempted a biography of her predecessor, whom she admired, she was forced to give up the project for lack of information about her reclusive subject. To this day, because of Radcliffe's self-imposed seclusion only basic infor­ mation is available about her life. She was born in London on 9 July 1764, the only daughter of Ann Oates and William Ward, a businessman.
    [Show full text]
  • Gothic Humour and Satire in Northanger Abbey Aurélie Chevaleyre
    Gothic Humour and Satire in Northanger Abbey Aurélie Chevaleyre To cite this version: Aurélie Chevaleyre. Gothic Humour and Satire in Northanger Abbey. Literature. 2012. dumas- 00936705 HAL Id: dumas-00936705 https://dumas.ccsd.cnrs.fr/dumas-00936705 Submitted on 27 Jan 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Gothic Humour and Satire in Northanger Abbey Nom : CHEVALEYRE Prénom : Aurélie UFR de Langues Étrangères Mémoire de master 1 professionnel - 12 crédits – Mention Anglais Spécialité ou Parcours : Professorat des Lycées et Collèges Sous la direction de Mme BERTONÈCHE Caroline Membres du jury: Mme BERTONÈCHE Caroline et M. SCARPA Sébastien Année universitaire 2011-2012 Gothic Humour and Satire in Northanger Abbey Nom : CHEVALEYRE Prénom : Aurélie UFR de Langues Étrangères Mémoire de master 1 professionnel - 12 crédits – Mention Anglais Spécialité ou Parcours : Professorat des Lycées et Collèges Sous la direction de Mme BERTONÈCHE Caroline Membres du jury: Mme BERTONÈCHE Caroline et M. SCARPA Sébastien Année universitaire 2011-2012 Acknowledgements I would like to thank Caroline Bertonèche for reading my work and providing advice and encouragement throughout the writing process. I am also grateful to my friends Roxana Minart, Jonathan Zeitoun, Adeline Severac, Claire Dussart, Sophie Bourrat and finally my partner, for their support and help during times of doubt and discouragement.
    [Show full text]
  • The Detection of Anticipations of a Series of Gothic Novelists After
    176 The detection of anticipations of a series of gothic novelists after Radcliffe has been manifested by the canons of critical tradition either of past or present. The cornerstone of a new genre once again, like her predecessors, Aphra Behn, Frances Burney and Maria Edgeworth, was laid by Ann Radcliffe in the completion of the sub-genres of novel in the field of gothic. Encyclopaedia Britannica under the entry of Ann Radcliffe states: ...the most representative of English Gothic novelists. She stands apart in her ability to infuse scenes of terror and suspense with an aura of romantic sensibility. Like other pioneers, Radcliff, on the one hand, worked on the possibilities of her innovation as a fully-shaped work and, on the other hand, left the inviting gates of succession ajar for the future daring authors whose literary tastes resembled that of hers. Her Mysteries of Udolpho gained a reputation higher than the author herself which later on made writers and critics call and know her by her work, to the extent that a book with the title of The Mistress of Udolpho was published on the author’s life by Rictor Norton. The popular and critical acclaim of The Mysteries of Udolpho established Ann Radcliffe as one of the most successful novelists of the eighteenth century.1 177 History has proven that Radcliffe was no less a cause in preparation of the ground for Jane Austen and Mary Shelley though both these two writers may have far outshone Radcliffe in their creation of more complicated plots and sophisticated characterization.
    [Show full text]
  • Responsibility and Responsiveness in the Novels of Ann Radcliffe and Mary Shelley
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-14-2014 Responsibility and Responsiveness in the Novels of Ann Radcliffe nda Mary Shelley Katherine Marie McGee University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Literature in English, British Isles Commons Scholar Commons Citation McGee, Katherine Marie, "Responsibility and Responsiveness in the Novels of Ann Radcliffe nda Mary Shelley" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5376 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Responsibility and Responsiveness in the Novels of Ann Radcliffe and Mary Shelley by Katherine McGee A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Regina Hewitt, Ph.D. Laura Runge, Ph.D. Pat Rogers, Ph.D. Marty Gould, Ph.D. Date of Approval: November 14, 2014 Keywords: Ecocriticism, British literature, supernatural, nature, landscape, nonhuman Copyright © 2014, Katherine McGee Acknowledgements In many ways, this dissertation is a product of the types of supportive communities it advocates: this document would not exist without the encouragement and care of my family; friends; “immigrant family;” Texas Christian University, University of Tulsa, and University of South Florida professors; the Dissertation Support Group; the “inmates” of BEH; my church families; or the English department office staff.
    [Show full text]
  • Tin Perdesinin Kalkması: Ann Radcliffe'in the Mysteries of Udolpho
    KOSBED, 2018, 36: 77 - 94 Tin Perdesinin Kalkması: Ann Yayın Geliş Tarihi: 12.09. 2018 Radcliffe’in The Mysteries Of Udolpho Yayın Onay Tarihi: 12.12.2018 (Udolpho’nun Gizemleri) Romanı Pelin KÜMBET • Psyche Unveiled: A Palpable Example of Female Gothic Genre, Ann Radcliffe’s the Mysteries of Udolpho Özet Bu makale, Ann Radcliffe’in The Mysterious of Udolpho (Udolpho’nun Gizemleri) (1794)adlı romanında, esrarengiz ve gizemli bir şekilde üstü örtülmüş olayların “kara perdesini kaldıran” Gotik bir kadın kahramanın tinsel keşfine odaklanmaktadır. 18. Yüzyıl İngiltere’sinde evcil bir alanda tutsak edilen kadının yaşantısına ışık tutarken, Ann Radcliffe, Emily adını verdiği bu kadın kahramanı, geçmişin yükünü kaldırarak şuan ki tutsaklığından kurtulabilen biri olarak betimler. Radcliffe, kendi şiirsel gücü ve duyarlılığıyla işlediği Gotik türünü ve gerilimi kullanarak, 18.Yüzyılda kadınların durumunu anlamak ve gözler önüne sermek için doğa üstücülüğü bir çeşit araç olarak kullanır ve toplumun kritik bir resmini çizerken aynı zamanda da kadınlarla ilgili politik söylemler de bulunur. Anahtar Kelimeler: Ann Radcliffe, The Mysteries of Udolpho, (Udolpho’nunGizemleri), tin, Gotik türü, Kadın kahraman Abstract This article concentrates on the exploration of the psyche of female Gothic heroine, Emily in Ann Radcliffe’s The Mysteries of Udolpho (1794),who eventually “lifts the black veil” of the uncanny and mysteriously hidden events. Mirroring the captivity of women in domestic spheres in the eighteen-century England, Ann Radcliffe portrays Emily breaking free from this entrapment by means of unburdening the past. With the employment of Gothic genre and suspense, embroidered with her poetic power and sensibility, Ann Radcliffe uses the supernatural as a principal tool to understand and reveal the status of women in the eighteen-century England and makes political statements with regards to women while drawing a critical picture of the society.
    [Show full text]
  • "Rare in Burlesque": Northanger Abbey
    "Rare in Burlesque": Northanger Abbey RICHARD LANSDO'A'N Dors, dors, mon enfant, Jusqu'a rage de quinze ans, A quinze ans faut te reveiller, A quinze ans faut te marier. It has been appreciated fOl' many years that a special part of the appeal and literary-historical significance of Northanger Abbey lies in the way the novel dramatizes and articulates the relationship between the two fic­ tional modes it deploys: novelistic realism on the one hand and a satiric version of Gothic fiction on the other (what Reginald Farrer called in 1917 "serious drama" and "parody"). "As for the reader," Farrer con­ cluded, "the closer his study of the dovetailing of the two motives, the profounder his pleasure. "I Reflection on the moral and aesthetic effects of this dovetailing has frequently been seen as central to what Jane Aus­ ten's novel encourages and has to offer. For Walter Anderson Northanger Abbey presents a struggle between "fatuous imaginings" and "common, sensible pleasures in reading," in which Austen "intends her work _ .. to compete with and ultimately outstrip Gothic romances."2 For Marvin Mudrick, "The problem is to write simultaneously a Gothic novel and a realistic novel, and to gain and keep the reader's acceptance of the latter while proving that the former is false and absurd."3 In Northanger Abbey, according to Susan Morgan, "Austen mocks sentimental and gothic con­ ventions because they are unnatural and therefore incredible."4 But other readers have taken the situation to be more complex than commen t.s like these might suggest.
    [Show full text]
  • Anodyne Aesthetics in Ann Radcliffe's the Mysteries of Udolpho
    ANODYNE AESTHETICS IN THE MYSTERIES OF UDOLPHO ANODYNE AESTHETICS IN ANN RADCLIFFE'S THE MYSTERIES OF UDOLP HO By MIRA RADANOVIC, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Mira Radanovic, September 2006 MASTER OF ARTS (2006) McMaster University (English) Hamilton, Ontario TITLE: Anodyne Aesthetics in Ann Radcliffe's The Mysteries ofUdolpho AUTHOR: Mira Radanovic, B.A. (McMaster University) SUPERVISOR: Professor Peter Walmsley NUMBER OF PAGES: vi, 111 11 ABSTRACT This study is a sustained exploration of Ann Radcliffe's engagement with art and aesthetics in her most lengthy novel, The Mysteries of Udolpho. While critics often address how Radcliffe draws upon the eighteenth-century aesthetic categories ofthe sublime and the picturesque, such considerations often cast her efforts as simply transcriptions of the pictorial works of landscape painters, or translations of theoretical concepts into narrative form. Instead, I argue that Radcliffe structures her narrative around her heroine's aesthetic encounters, and thus negotiates with the very conception and classifications of aesthetics of the past, present and imagined futures, in order to work through concerns of gender and class on the fundamental level of cognition, representation, and modes of reality. Chapter One ("The Limits of an Aesthetic Education") traces the thematization of the bequest of education and challenges the notion of St. Aubert as a benevolent patriarch. Instead, his teachings of reason and sympathy expose the internal contradiction between sentiment and scientific rationalism through which Radcliffe exposes the limits and relevance of such an education to her female subject in her confrontations with the aesthetic categories of the sublime and picturesque.
    [Show full text]
  • The Mysteries of Udolpho Free
    FREE THE MYSTERIES OF UDOLPHO PDF Ann Ward Radcliffe,Bonamy Dobree,Professor of English Terry Castle | 736 pages | 15 Nov 2008 | Oxford University Press | 9780199537419 | English | Oxford, United Kingdom Drama: The Mysteries of Udolpho BBC Programme Explorer Robinson of London. Aubert, who suffers misadventures that include the death of her mother and father, supernatural terrors in a gloomy castle, and machinations of an Italian brigand. Often cited as the archetypal Gothic novelThe Mysteries of Udolpho and Radcliffe's The Romance of the Forest appear prominently in Jane Austen 's novel Northanger Abbeywhere an impressionable young woman reader comes to see friends and acquaintances as Gothic villains and victims, with amusing results. The The Mysteries of Udolpho of Udolpho is a quintessential Gothic romancereplete with incidents of physical and psychological terror: remote crumbling castles, seemingly supernatural events, a brooding, scheming villain and a persecuted heroine. Modern editors note that only about a third of the The Mysteries of Udolpho is set in the eponymous Gothic castle, [2] while tone and style The Mysteries of Udolpho markedly between sections of the work, to which Radcliffe added extended descriptions of exotic landscapes in the Pyrenees and Apenninesand of Venice, none of which she had visited. The novel, set in in southern France and northern Italy, explores the plight of Emily St. Aubert, a young French woman orphaned by the death of her father. He and others frustrate Emily's romance with the dashing Valancourt. Emily also investigates a relationship between her father and the Marchioness de Villeroi, and its connection to Castle Udolpho.
    [Show full text]
  • Ann Radcliffe's Incorporation of Music in the Mysteries of Udolpho
    Mortal Sounds and Sacred Strains: Ann Radcliffe’s Incorporation of Music in The Mysteries of Udolpho Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Olivia M. Wikle, B.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Dr. Danielle Fosler-Lussier, Advisor Dr. Ryan Skinner Dr. Clare Simmons Copyright by Olivia M. Wikle 2016 Abstract The British gothic novel arose during the second half of the eighteenth century, amidst the effects of the Enlightenment and the beginning of Romanticism. The gothic genre drew on a conception of a superstitious past, depicting marvelous and otherworldly subject matter in order to express growing feelings of anxiety caused by urbanization, revolution, and a displacement of religion. In evoking these anxieties, gothic writing also drew on commonly held aesthetic theories of the eighteenth century, most notably the theory of the sublime. In order to enhance the experience of sublime emotions in her readers, the gothic novelist Ann Radcliffe (1764-1823) incorporated descriptions of sound and music in her novels, particularly during apparently supernatural scenes. Radcliffe was the first gothic author to implement music and sound in this way, and her sonic descriptions had profound effects on the writing of gothic authors that came after her. Radcliffe’s descriptions of sound and music in her 1794 novel, The Mysteries of Udolpho, bear similarities with the mimetic techniques of eighteenth-century art music that was being performed in London during Radcliffe’s lifetime. Biographical information indicates that Radcliffe was fond of attending musical performances in late eighteenth-century London, and was familiar with mimetic musical techniques that were understood by aesthetic theorists to evoke sublime emotions.
    [Show full text]
  • Power and Identity in Three Gothic Novels: <I>The Mysteries Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tennessee, Knoxville: Trace University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2011 Power and Identity in Three Gothic Novels: The Mysteries of Udolpho, Caleb Williams, and Melmoth the Wanderer. Jerry Jennings Alexander [email protected] Recommended Citation Alexander, Jerry Jennings, "Power and Identity in Three Gothic Novels: The Mysteries of Udolpho, Caleb Williams, and Melmoth the Wanderer.. " PhD diss., University of Tennessee, 2011. https://trace.tennessee.edu/utk_graddiss/1164 This Dissertation is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Jerry Jennings Alexander entitled "Power and Identity in Three Gothic Novels: The Mysteries of Udolpho, Caleb Williams, and Melmoth the Wanderer.." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in English. Nancy M. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Amy Billone, Jenny
    [Show full text]
  • Copyright Author & Chawton House Library
    Ann Radcliffe (1764-1823) by Ruth Facer Ann Radcliffe will always be remembered as the great exponent of Gothic fiction. Though Jane Austen would parody her novels in Northanger Abbey (1818), Radcliffe’s wild, often bleak, landscapes, dark threatening men, and gothic mysteries lived on in the works of Keats, Mary Shelley, the Brontes, Dickens, and Bram Stoker and many others. Contemporary readers and modern day critics have variously dubbed Radcliffe the ‘Mistress of Udolpho’, ‘The Great Enchantress’, and the ‘Mother of the Gothic’, but these are misleadingly exotic titles to bestow upon such a private person with such a prosaic life history. According to The Edinburgh Review (May 1823), ‘She never appeared in public, nor mingled in private society, but kept herself apart, like the sweet bird that sings its solitary notes, shrouded and unseen’. In fact, so little was known about Radcliffe’s life in the nineteenth century that Christina Rossetti abandoned a projected biography due to a lack of material. We do know, however, that Ann Ward Radcliffe was born in Holborn, London, on 9 July 1764. She was the only child of William Ward, a haberdasher, and his wife Ann Oates. Her mother was relatively well connected. Oates’s cousin was Sir Richard Jebb, physician to George III, while her brother-in-law, Thomas Bentley, was the partner of Josiah Wedgwood. In 1772, William Ward moved with his wife and young daughter to Bath, where he would manage a china shop partly owned by Wedgwood. The young Ann was reasonably well educated, read widely and had opportunities to meet literary figures of the day, including Hester Thrale and Elizabeth Montagu.
    [Show full text]