Customer Reviews

The Mysteries of Udolpho (Oxford World's Classics)

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I fear I don't have the words to fully explain just how important, enjoyable, and breath-taking this novel is to me; The Mysteries of Udolpho is simply one of the greatest written works ever produced. While this is a Gothic novel, arguably the greatest Gothic novel ever written, it is so much more than that. "Gothic" denotes dark castles, spectral haunts, dastardly deeds performed by cruel, mysterious men--certainly these elements are here. However, a large portion of this novel is simply beautiful--no one I know of has ever described the simple grandeur of life and nature or waxed more poetically on the noble merits of love and honor as does Ann Radcliffe.

Emily is one of the most memorable characters in all of fiction. To be frank, I simply fell in love with her. Through her, I was able to not only see but to better appreciate life itself and the simple beauties it manifests. When she was hurt or pained, I shared her sorrow; many times, I felt compelled to jump up and somehow defend her against the monstrous injustices inflicted upon her. I admired her morality and deep commitment to honor, a commitment so deep that she sacrificed in deference to it her own deep love for Valancourt, a love so deep that it alone allowed her to withstand the horrors of Count Montoni and the castle of Udolpho. Certainly, Emily is very sensitive and overdramatic, and she does tend to faint a lot, but she is a pure angel to someone like myself who is a Victorian at heart.

The Gothic horror is very well done, but it does not take up nearly as much of the novel as I had anticipated. Radcliffe can bring chills to readers even today. The description of someone's silent entry by night into Emily's room is spine-tingling, as are the descriptions of Emily's reluctant journeys down to the catacombs beneath the castle. The wide-eyed Annette's rambling descriptions of supernatural manifestations feed Emily's and the reader's own fears. Emily escapes from the nefarious castle about two-thirds of the way through the novel, but a number of strange events at Chateau-le-Blanc quickly serve to return the reader to the dark dimensions of fright. At that point, I wondered how so much story could be left to tell, but Radcliffe introduced new characters and new situations as compelling as those that had come before and succeeded in absorbing me even further into this world of her creation. Lady Blanche inspired in me many of the feelings I felt for Emily, and the resulting story not only added much to the experience of this novel but ultimately helped to tie many threads together. The experience of Emily and Annette in the late Countess' room, shut up for 20 years since the lady's mysterious death, was as frightening as any scene that took place inside the walls of Udolpho. I did worry as I neared the final pages that Radcliffe would not successfully explain everything that had taken place or would leave some loose ends dangling--the only thing I was left wondering, however, was what happened to the dog Emily took with her to Udolpho after she escaped.

I wish I could mention all of the wonderful characters and all of the scenes and events, both beautiful and horrific, to be found in these pages. These were times when I literally had to put one hand across the page to keep from jumping ahead to see what was about to happen. I do want to stress the beauty and romance of the novel because these aspects are overshadowed by the perception people have of Gothic literature. The story of Emily and Valancourt is one of the greatest love stories in literature. Future readers, please don't pick the novel up until such a time as you are truly committed to reading it; it is rather long, and this is not a novel you will want to lay aside for several days at a time. Also, the first 100 pages or so are somewhat hard to get through. Radcliffe paints a living portrait of nature in these pages, describing more details than I could ever even hope to witness. You won't encounter the Gothic horror you may be expecting until you get rather deeply into the story, so keep that in mind. Approach this novel as you would a work of art because that is exactly what it is.

When published in 1794, this lengthy tale of romance and intrigue became a best-seller, reportedly the first best-seller ever. When reading it, one can very well imagine the author -- a reclusive English lady -- writing this story for her own entertainment and as a record of her own day dreams, her intimate flights of fancy.

There is no question that the sweet, suffering, intelligent, compassionate, level-headed, courageous Emily St. Aubuert of the story is the author's other self, the self she imagines herself to be. The trials she faces as her other self, she faces with courage and intelligence and outstanding patience: the loss of parents, the awful tyranny of her aunt with whom she has been placed as a ward, the terror of the Archvillain Montoni who kept her captive in the remote, ghostly castle of Udolpho and her daring escape -- all were most likely Ms. Radcliffe's day dreams set to paper. Afterall, she was childless and well-bred and in those times, there was little for a well-educated lady of her class do but to read and dream and write.

And she developed her craft grandly. Her descriptions of scenery, the locations of each set-piece of her novel are vivid and memorable. She had an eye for the sweep of detail of a landscape, a forest, a plain, a mountain and she had the talent of painting her scenes under shrouds of mystery and melancholy.

Emily's love affair with the chevalier Valancourt to whom she gave her entire capacity for love, and his betrayal of it and proof of his unworthiness, comes as a disappointment. But then, at the end there is a reconciliation and appropriate romantic solution of the problem, however unlikely.

The novel is long, too long, really. But for the era it was written, when time was more abundant, such lengths are understandable and acceptable.

It is said, with accuracy in my opinion, that this is an important novel for those who study English-American literature because it is the forerunner of the gothic novels that have earned a large modern following. And the way to read it, is not to hurry through the pages, but to relax and relish Ms. Radcliffe's marvelous descriptions which serve as delicious backdrops to her romantic melodrama.

Though this is a coming of age story, Emily St. Aubert never strays far from the womblike enclosure of a house, carriage, or prison. She trips away from home seeking the beauty of nature, but inevitably she is brought back by the voice of her saintly father, a disapproving aunt, or "ghosts" in the forest. Walls confine and protect Emily during her difficult transformation from child to woman.

The simple and elegant chateau where the genial heroine grew up is a "resort of love, of joy, of peace and plenty". As the sole surviving child, she is cherished by her parents who lead a sublime existence amidst surrounding acres of beautiful forests, a river, mountains, and plains. Unlike most Renaissance women, Emily is very well educated. Most of her idle hours are spent writing poetry, reading, and wandering through the woods. She is also a gifted singer and enjoys playing the lute and sketching. The heroine of The Mysteries of Udolpho is difficult to forget. Indeed, one of the best features of this book is the variety of well-drawn characters.

Shortly after the story begins, Emily and her ailing father embark on a journey by carriage through the backwoods of southern France. From the window of the carriage, Emily views seascapes, grassy knolls, wildflowers, flocks of sheep, dark forests and the towering Alps. Radcliffe uses vivid imagery, but it can be tiresome after two or three consecutive paragraphs of landscape description intermixed with the travelers' meditations on the scenery.

A few months after this journey Emily becomes the reluctant ward of her social climbing aunt. She is trapped in Aunt Cheron's tacky house which is filled with large furniture, servants in spiffy uniforms, and gaudy decorations.

She escapes that monstrous house and arrives in Venice at the time of the Carnival. From the balcony of her uncle's desolate mansion on the Adriatic, Emily discovers a group of revelers dressed as nymphs floating along the canal. The incident inspires her to write a poem called "The Sea-Nymph" about a naiad who sings songs to sad sailors. If Poseidon finds out, he chains her to a rock till the sailors go away. The Poseidon character represents Signor Montoni, the tyrant whose domineering will and avarice threaten to destroy Emily's plans for happiness. Here, as elsewhere, Radcliffe's use of poetry enhances the story and provides a window into the subconscious mind.

Under mysterious circumstances, Mademoiselle Emily and her incongruous family leave Venice at the break of dawn. Montoni is the only one of the three who knows why they are going to Udolpho, a gargantuan castle situated near a waterfall, surrounded by a dark forest and mountains on all sides. Strong sexual overtones in the Udolpho chapters contribute to making this novel an exasperatingly prudish masterpiece of pornography. The well orchestrated action scenes, subtle humor, and chilling suspense are also noteworthy.

There is a connection between this castle and the next stop on Emily's itinerary: Chateau-le-Blanc, an abandoned estate bordering the Mediterranean Sea. Within this house, Emily discovers a clue about her father's mysterious past. Here also is the scene of Emily's heartbreaking reunion with Vallencourt, the carefree traveler she met in the French Alps.

Like many other coming of age stories, Udolpho deals with the subject of emerging sexuality and the male/female dynamic. Physical attraction, a vital element of romantic love, appears missing in Emily's relationship with Vallencourt - a weak hero. Nevertheless, Emily views Vallencourt as marriage material. He is allot like her father: benevolent, gentle, honest, and spiritually oriented.

In contrast, Montoni reveals himself to be a selfish, domineering, dishonest and violent man. And yet Radcliffe has decided to add virility and good looks to this character's makeup. As a result, an undercurrent of incest pervades the story. Emily's feelings towards Montoni are revealed when she finds herself confused as to why she wants to see him in the Condottieri uniform. Montoni is a far more potent figure than her own lover. Emily herself overpowers Vallencourt in every scene, and it is to her credit that she can hold her own with Montoni. The contrast between the hero and villain is an honest portrayal of how women often divide men into two categories: good/safe-impotent, bad/sexy.

Love problems lead Emily to accept a longstanding invitation to visit the convent of St. Clair. During a grueling interview with Sister Agnes, the mad nun, Emily discovers a shocking secret about her family history. It is in this seaside convent that the reader encounters, in it's worst aspect, the real horror of the book: the dark side of human nature.

All things dark fascinate the gothic writer. It is no wonder that ominous gothic buildings loom prominently in these stories. Their fantastic design, intricate detail and deep shadows inspire dread. And that is one of the primary functions of gothic fiction - to inspire fear and awe. The term "Gothic fiction" is derived from the gothic architecture of buildings in these novels. But Radcliffe, who defined the genre, does not limit her visual scope to gothic settings. As Emily finds out, the mysteries of Udolpho extend beyond the walls of that ancient edifice. A clue to one of the mysteries is found in Emily's modest home. But it is not until she leaves her home that she discovers this.

It is during her year of travels that Emily comes of age legally. In the beginning of the book she is still a naive young girl who loves listening to Madame Quesnel's description of the splendor of the balls, banquets, and processions at court. During her travels she discovers that the world beyond her doorstep is full of hedonists, phonies, and scary people. The lesson of her yearlong journey is that there is no place like home. At the conclusion of the story the heroine becomes both legally and emotionally "of age". How Emily gains this wisdom is the stuff of this novel.

I read Mysteries of Udolpho in my freshman year of high school. I had never heard of it before, aside from when I read Jane Austen's Northanger Abbey. I discovered it on the internet, and the plot immediately intrigued me. I bought it the next chance I got, and I was not disappointed. I've read some reviews saying that the descriptions were too long, or the plot too tedious, and I am shocked. Ann Radcliffe's story, and style of writing are the best I've seen in my entire life. It's disappointing to know that she is not credited for her works as she should be. I consider Ann Radcliffe the best writer of all time, and Mysteries of Udolpho her greatest achievement. At first, I was a little worried about the size of the book, but that soon diminished when I discovered how fast-paced the novel was. I couldn't put the book down! When I grew near the end, I wished that there was more! I can safely say that if you enjoy gothic style novels, this will be the best one you have ever read! It is a must-read for everyone!

On one level, this novel defies categorisation. Yes, the Gothic web of mystery and intrigue is obvious. And so too are the beautiful descriptions of nature, the struggle between good and evil, the noble acts of heroism and the ignoble acts of greed.

Anne Radcliffe has taken all of these components and distilled an imaginative creation that still, some 213 years after publication, catches the imagination of the reader. If you do choose to read this glorious novel, make sure that you are prepared for a pace which relies more on descriptive prose and less on implied actions. Set aside the time to immerse yourself in the setting and enjoy the journey.

This is not a novel to be rushed, it is a novel to be savoured.

Ann Radcliffe was 30 years old the year this novel was published. What an accomplished and imaginative young woman she must have been.

Highly recommended.

Jennifer Cameron-Smith

I love novels, especially gothic novels, but I dreaded reading this book for my senior seminar on the gothic novel. The sheer size of it was so imposing to me. Aside from that, I had never even heard of it, nor had I heard the name Ann Radcliffe. I began to believe that my fears were justified after the first few totally over-descriptive chapters, but I persisted and was rewarded for my patience! Once the "mysteries" of Udolpho began to appear, I couldn't put the book down, so anxious was I to know their outcomes. Like most gothic novels, it is a bit farfetched and melodramatic (especially the love angle), but that's not the point here. The story is just jam-packed with gothic sexual thrills, lust, rotting corpses, spooky sounds, unexplainable "creeping flesh" sensations... read it and appreciate a virtually unknown gem!

This book was one of the most popular of the late 18th century when it was published, and has never ceased to be in print...and it's no wonder why! This piece of literature is SHEER BRILLIANCE; Ann Radcliffe's writing style is unsurpassed; she cleverly spins a yarn of terrifying proportions, while delighting readers with her majestic discourse on nature. If you're looking for a "page-turner," you've certainly found one. When you reach the five hundredth page or so, you'll be climbing the walls to know what the conclusion will be! This is largely a psychological thriller, and should be approached from that angle, as well as with a good degree of patience, as the story does slooooowly unravel. Join the elite ranks of readers who have experienced the GENIUS of The Mysteries of Udolpho.

I absolutely fell in love with this book. The prose and use of the english language is breathtaking. It's a long novel (but those are my favourite kind) but it kept me up into the wee hours to see what would happen next.

I have read it many many times, I can just choose a paragraph at radom and fall into her lyrical writing.

The ultimate gothic. READ IT!

After having read the mere 176-page original gothic tale of 1764, Horace Walpole's "The Castle of Otranto", I embarked on this 672-page equally-famous gothic fantasy by Ann Radcliffe, published thirty years later, and a best-selling literary phenomenon of its day.

The opening of Terry Castle's incisive introduction to the work notes that, "Perhaps no work in the history of English fiction has been more often caricatured." It is supposed to be "the greatest (or at least the most famous) of gothic romances ... has an archetypal `gothic villain' ... is loaded with exotic scenery ... [and] its heroine, a victim of `sensibility', faints a lot." But whilst common opinion may see it as "a bit of a `silly' book too", the conscientious reader must actually "feel a twinge of bad faith"; Udolpho is actually "bigger, baggier and more uncanny than one thought it was." This is so true.

Whilst not denying a strong gothic element in the writing, the book is also a travelogue, a morality tale, a commentary on manners, and even a comedy of errors; just like Shakespeare, the servants provide a focus for humour, and Radcliffe is not even averse to parody herself as well as the tale she tells. Indeed, one can even view the novel as a typical Jane Austen romance - a woman, her marriage options, and the descent of landed property feature heavily in the plot - but this time set on the continent and in a gothic milieu; Jane Austen even drew on some of the scenes for her `Northanger Abbey' of 1818. But Terry Castle draws attention to the title of the novel, namely the `mysteries' of Udolpho. Thus one can add to the long list of genres set out above, even that of an Agatha Christie murder-mystery, a product of the new age of enlightenment when old-style superstitious mystery was replaced by its more reasoned newcomer, although "Radcliffe's supposedly `rational' explanations are at times almost more implausible than the supernatural explanations they are meant to displace."

Whilst the consensus about the book's merits might be overwhelmingly negative - "too long, feeble in characterisation ... lacking in moral or intellectual gravitas ... [and] full of absurdities" - a closer examination reveals "a meticulous stylist ... who can create moments of considerable drama". Indeed, the style of writing is worthy of remark. The book is full of long sentences, often beautifully constructed. The book must be read at a stately pace to accord with the natural breath of the author's rhythm. Did she speak in this way, or are the construction of sentences designed so as to be read aloud within family groups as they sat before the fire on cold, dark, late-eighteenth century evenings? This style can lead to artifice, and the excessive number of commas can be exasperating on occasions.

There are whole chapters of descriptive prose about the sublime effects of the natural landscape. These are of more value than mere curiosity; the author writes very well with a sharp eye for detail. Terry Castle sagely compares her prose in this regard to the landscapes paintings of Salvatore Rosa, Poussin and Claude Lorraine that Radcliffe admired. This is all the more amazing, as she never visited the places she describes in such detail, but sees them through the eyes of fancy. Actually, she saw them through the eyes of the likes of Tobias Smollett and Hester Thrale Piozzi whose travel books she greatly relied upon. Geographically, the novel forms an arc: volume one is set in Gascony and Languedoc; volume two in Venice and Udolpho; volume three in Udolpho and Tuscany; and volume four back in Gascony and Languedoc.

Ostensibly set in the year 1584, the book is imbued with the manners and sensibilities of genteel England of 1794. For this reason, I found it convenient to forego imagining a strict rendition of time and place. Whilst the number of precise factual anachronisms is small, they are nevertheless difficult to ignore; they include such items as coffee drinking, the names of English poets, the use of knives and forks, the wearing by ladies of certain hats, and the naming of rooms as `saloons'. Moreover, the description afforded to the city of Venice is more akin to the 1780s, or what Terry Castle in her introduction describes as "the elegant Venice of Canaletto and Goldoni", rather than that of the 1580s and the city of Tintoretto and Monteverdi.

There is very little character development. Indeed, there is very little character at all, since the novel revolves almost entirely around our heroine Emily. People come into her life and then leave only when they have some part to play in Emily's story. Even her dog, who appears to be her constant companion in all her travels, appears a mere two or three occasions in order to heighten tension or play a minor part in Emily's experiences: on his second appearance, as our heroine seeks to escape from the castle in which she is held, the dog's yapping threatens to disclose her position, but I had by then even forgotten the dog's very existence, so notably absent had his presence become.

So, what is this novel to be? A gothic romance? Travelogue? Morality tale? Commentary on manners or comedy of errors? Or enlightenment mystery? Why, all of the above, of course. But in a twist of blazing insight, perhaps Terry Castle is right to recommend this book for 21st century readers as a precursor of Freud's work on the unconscious, for "like a long and complex dream - the kind in which pleasure and apprehension are so closely intermingled as to become indistinguishable - the book repays imaginative introspection." When Radcliffe writes halfway through her novel that, the heroine "blamed herself for suffering her romantic imagination to carry her so far beyond the bounds of probability, and determined to endeavour to check its rapid flights, lest they should sometimes extend into madness", she is warning the incautious reader too.

The usual high standards of the Oxford University Press's World's Classics editions are upheld in this volume. Not only the introduction, but also the standard textual note, select bibliography, chronology and end-notes all appear to guide and enhance the experience. As with all reprints of classic works of literature, I recommend that the so-called introduction (which is really more of a commentary) is best read after the novel.

A very good book, I can't express it enough.. Very dry and slow moving at first, but once the events and story starts unraveling it's hard to put down - I read it in 3 days time I was soo absorbed. All I thought about was getting back to the book it was fantastic.If you read this book, once you get past the slow beginning, I can guarantee you won't be disappointed.