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Ann RadcliffeA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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As the Montoni retinue leaves Toulouse, Valancourt appears in the road and secretly hands Emily a letter assuring her of his sincere love. He warns her about Montoni again. The retinue climbs up the Alps to Italy; Emily is reminded of the beautiful time she spent in the Pyrenees with Valancourt. She composes a sonnet in her head as she contemplates the scenery around her.
The company heads to the city of Turin. Madame Montoni wants to linger in the city for sightseeing, but Montoni tells her they will stay only long enough to restock their rations. Montoni is brusque with his wife throughout the journey. As they cross Milan, Montoni dresses up as an Italian soldier and talks increasingly about warfare and violence. His behavior toward Madame Montoni worsens when they arrive at his estate, located on the grand canal in Venice. Emily marvels at the grandeur of Montoni’s palace. Montoni leaves Madame Montoni alone at home and goes away with Cavigni. Madame Montoni looks crestfallen.
Montoni and Cavigni stay out partying all night. After he returns, Montoni invites his group of friends—Signor Bertolini, Signor Orsino, Count Morano, and Signora Livona—to dinner. Madame Montoni receives them poorly, angry that her husband preferred their company to hers. The group goes out in gondolas for a ride. Montoni looks around for a casino where he can gamble. Montoni disappears shortly and returns in the morning after having lost considerable money at a casino. He and Madame Montoni fight.
Meanwhile, Count Morano invites Emily and Madame Montoni to the opera. After attending the opera, Emily decides she prefers the beauty of nature to the artificiality of the opera. In the following weeks, Morano courts Emily aggressively. Emily is “highly disgusted at his perseverance” (294). The Montonis favor Morano’s suit since he is very rich. Cavigni is uncomfortable with Morano’s courting of Emily. Madame Montoni had initially spoken of visiting the Castle di Udolpho in the Apennines, arousing hopes of a countryside visit in Emily. However, the trip seems to be forgotten in the wake of Morano’s courting of Emily.
Emily gets a letter from Valancourt saying that M. Quesnel has leased out La Vallee and dismissed Theresa. Emily is appalled Quesnel would lease out her father’s property without her permission. However, she feels her disapproval would be best conveyed to Quesnel in person. Montoni, who has received similar news from Quesnel, asks Emily to write her acquiescence to M. Quesnel. Emily does so, saying it is now useless for her to object to the matter to which Quesnel refers. Montoni is happy with the way she has framed her letter.
Morano kisses Emily’s hand without her consent and asks her to come away alone with him on a gondola ride. When Emily refuses, Morano accuses her of playing with him, since she has written to Quesnel accepting his affections. Emily realizes Montoni may have tricked her into writing her acquiescence to Morano’s proposal, instead of the lease of La Vallee. Montoni pretends he is innocent. Morano says Montoni has misled him and vows to protect Emily from his high-handedness. Emily retires to her rooms, feeling helpless about her isolation. She ponders her future course of action. She cannot now return to La Vallee, neither would she want to live with the Quesnels. She decides the convent in Languedoc near which her father passed away may be her best option.
Madame Montoni does not support Emily’s refusal of Count Morano and taunts her for being too picky. Morano does not visit for several days. Emily and the Montonis visit the Quesnels at the villa of Miarenti, which M. Quesnel inherited.
Emily had hoped the Quesnels would support her in her refusal to marry Morano. But now she feels the “cruelly exerted authority” (331) of both Montoni and Quesnel forcing her to entertain Morano. Morano, who had left Emily alone in Venice, begins visiting Emily again in Miarenti. Pride prevents Emily from confessing her love for Valancourt to Morano. The group return to Venice where Montoni’s behavior becomes even more tyrannical. He tells Emily that if she does not marry Count Morano, her “punishment shall exceed [her] expectation” (333). Emily decides to suffer Montoni’s punishment rather than be forced into marriage to a man she does not love.
Talk of Emily and Morano’s wedding is briefly sidelined when Signor Orsino—one of Morano’s friends—visits the house in a state of agitation. He wants to hide in Montoni’s palace since he is being sought by the Senate for a plot to stab a Venetian nobleman. After Orsino leaves Montoni’s mansion a few days later, Montoni announces that Emily’s wedding will be held the next morning. Although it should be obvious to Morano that Emily does not want the wedding, he is too intoxicated by his passion to notice her despair. Madame Montoni takes bridal ornaments from the Count to Emily’s chambers, trying to convince Emily that the marriage will make her happy. She asks Emily to stop thinking about Valancourt and “get rid of all those fantastical notions about love” (339). That night, Emily is beset with nightmares and terrible visions.
The next morning, Annette, Madame Montoni’s housekeeper, tells Emily Montoni came home in a terrible mood and has ordered everyone to depart Venice without delay. The group leaves for the Castle di Udolpho in the Apennine mountains. Emily fears Montoni may have planned the trip to further isolate her and force her submission into marriage, but she is pleased to see neither Morano nor Cavigni travelling with them. Emily tries to learn the reason for their sudden departure from Montoni, but Montoni’s manner toward Emily during the journey is extremely severe.
Udolpho is situated in the midst of a thick pine forest on top of a mountain. The castle looks Gothic, intimidating, and dark. At the castle, Annette tells Emily the rumors that Udolpho is haunted by ghosts and fairies. Emily humors her and then asks Annette to abandon such ridiculous fancies. On the way to Emily’s rooms, they find a painting covered by a thick, black veil. Annette refuses to unveil the picture as she has heard terrible things about it. Annette cannot reveal its secret to Emily as she has been forbidden from doing so.
Annette does tell Emily about the missing “lady of Udolpho,” or Signora Laurentini. The signora was the rightful owner of the castle and a distant relative of Montoni. Montoni wanted to marry her. When she refused because she was in love with someone else, Montoni became furious. One evening, the lady went out for a walk among the trees and never returned. It is now said her ghost can be seen in the castle during the nights. Montoni laid claim to the castle, being the lady’s next heir. After Annette leaves, Emily notices a door in her room leading to a stairway. Emily decides to explore the stairway later.
The next day Emily finds the door to the stairway locked from the outside. It is clear someone bolted the door deliberately, and Emily wants to change her rooms. Montoni dismisses her request, refusing to entertain her “idle whims” (372). Emily feels agitated by the dismissal and tries to distract herself by exploring the castle. Curious about the veiled picture from the night before, Emily lifts the cover off the portrait. She does not find a picture underneath the cloth and faints in surprise. She decides to spend the rest of the day with Madame Montoni to keep her mind off her fears.
Meanwhile, Annette tells Emily that Montoni’s friends Cavigni and Verezzi are in Udolpho. Emily learns that Orsino is missing; the cavalier Orsino stabbed is dead. The news agitates Montoni, who gathers his men and starts having the palace fortified, even getting a cannon repaired. Emily and Madame Montoni spot Condittieri (mercenary soldiers) near the castle. Emily also thinks she has glimpsed Morano.
Emily retires to bed, fretting about the sudden turn of events. She is awakened by Manchon barking at an intruder. This turns out to be Morano, who may have entered Emily’s room through the secret stairway. Emily asks Morano to immediately leave. Morano says he is here to rescue her from Montoni’s “villainy” (400) since Montoni offered to sell Emily to Morano. He begs Emily to run away with him, but Emily upbraids Morano for ever entertaining Montoni’s offer. Morano orders his servant to kidnap Emily. Just then, Montoni and his stewards enter the rooms. The stewards rescue Emily from Morano’s servants.
Montoni and Morano duel. Montoni wounds Morano and wants him thrown out of the castle immediately. Emily asks for clemency for the sake of humanity. A confused Montoni leaves briefly to attend to his own injuries. Morano begs Emily for forgiveness and her good wishes, which she grants. Morano insinuates Montoni is a murderer, which causes Verezzi to threaten him. Emily asks Morano to leave, which he does. Montoni arrives on the scene and accuses Emily of having conspired with Morano. Emily denies the accusation, but Montoni ignores her.
As Volume 2 opens and the plot progresses, Emily finds herself in increasingly difficult situations. The supernatural elements and the uncanny atmosphere of the text deepen and the titular setting of Udolpho is introduced. Important questions about female autonomy, consent, property rights, and gender relations continue to be explored in this section.
The increasing threat to Emily is most embodied by Count Morano, a suitor who transgresses Emily’s boundaries repeatedly. Morano is charmed by the “beauty, modesty, sweetness, and simplicity of Emily” (283), but fails to see her disgust at his overtures. Unlike Valancourt, who represents the sensitive, chivalrous ideal of masculinity, Morano is too consumed by his own selfish desires to respect Emily’s true feelings. Though some of his behavior can be attributed to Montoni misleading him, the text indicates Morano should still have been more proactive in learning what Emily wanted. As a young, single, and orphaned woman at the mercy of relatives, sexual violence is a very real threat for Emily. Montoni well knows this, and therefore, takes every opportunity to remind Emily of her precarious position. When she refuses to marry Morano, he tells her: “If you compel me to become your enemy […] the punishment shall exceed your expectation” (333). The veiled threats of violence add to the air of menace around Emily, making her increasingly anxious and superstitious.
One of the text’s key themes is The Link Between the Gothic and Real-Life Terrors, as much of the horror Emily perceives of as supernatural has its roots in her real-world troubles. It is natural for Emily to feel more fearful in Venice and Udolpho since she is actually in an imperiled state. Madame Montoni, her blood relative, treats her with contempt and neglect; Montoni sees her as an object to marry off for money; and Montoni’s friends present a sexual threat. As these troubles intensify, so do Emily’s anxieties and superstitions. The exterior landscape of Udolpho becomes a symbol of Emily’s psychological terrors. For instance, in Volume 2, Chapter 6, Emily roams around the corridors of the castle, fearing glimpses of sudden shadows and apparitions. The text explicitly links her sudden sensitivity to the supernatural to a more immediate concern, noting that her “fear, however, had one object, and […] had called up that object to her fancy: she believed she had seen Count Morano” (375). Emily’s state of terror arises because her fear of Morano is realistic. What is more, her fears are not unfounded: He has indeed arrived at the castle and does intend to kidnap her shortly.
Emily’s vulnerability is linked with her lack of fortune. Both Montoni and Madame Montoni repeatedly emphasize that Emily is defenseless because she, at the moment, has neither money nor patronage. Madame Montoni mocks Emily for rejecting Morano, accusing her of being too picky in her position. This section succinctly explores the relationship between ownership of women and property, as well as the perils of a loveless marriage. Though Madame Montoni does not realize it yet, she, rather than Emily, is the woman most in danger at Udolpho. It is obvious from Montoni’s increasingly terrible treatment of her that he has married her for money. Montoni’s behavior foreshadows that he will increasingly pressure his wife to submit her financial autonomy to him. To men like Montoni, women and property are inextricably linked, both being commodities.
Montoni’s misogyny is a recurring motif in the narrative. The text’s constant dialogue concerning properties and estates, such as Emily’s rights to La Vallee, is significant in the context of the time in which the novel is set (1584) and the time it was written (1794). In both these periods, few women of noble birth were allowed to be professionals. Their best way of acquiring money was through inheritance and marriage. Among nobility, the estates one owned were linked with social worth. Owning a property is thus important for Emily to exist safely in her social milieu and exercise her choices.
The text’s Romantic elements are emphasized in this section as it features many vivid descriptions of nature during Emily’s journey across the Italian countryside. Radcliffe’s writing is particularly descriptive in this section, creating detailed images of the wild landscape Emily travels. For example, as she nears the peaks of the Alps, Emily is described as traveling among the clouds, watching “in silent awe [as] their billowy surges rolling below” sometimes expose “huge cliffs white with snow, or the dark summits of the pine forests” (254). During this section, Emily writes several nature poems, such as “Storied Sonnet,” “The Piedmontese,” “The Sea-Nymph,” and “Stanzas.” Most of these poems are composed spontaneously, when she is moved by awe at the landscape, or in the case of “Stanzas,” by a longing for home.
In terms of plot development and Gothic elements, one of the most significant events in this section is the introduction of the story of Signora Laurentini. The lady’s fate is a key mystery in the narrative. It is left unresolved to prolong the suspense and also as a means to fire Emily’s imagination and superstition. Since the story suggests she went missing after refusing Montoni, Emily begins to suspect Montoni may have murdered her. This suspicion contributes to her overall sense of dread. Notable Gothic conventions, such as glimpses of ghosts, the mysteriously locked door, veiled pictures, and sightings and whispers make an appearance in this set of chapters as well.
Udolpho becomes a symbol of Emily’s travails and a physical manifestation of the state of terror to which she is subjected. Emily’s first glimpse of Udolpho is significant. Lonely and foreboding, the castle appears to “frown defiance of all, who dared to invade its solitary reign” (347). Since the castle looms over its surroundings, it symbolizes dominance and tyranny. The sight of the castle is described as “sublime” (347), a term which occurs often in the text. Implying something great or extraordinarily moving, the “sublime” was a distinct quality in the 18th- and 19th-century philosophy of aesthetics. Broadly, the sublime inspires extreme emotions, such as bliss, awe, and terror. The castle of Udolpho can be described as sublime because it has a wild, lonely beauty.
This set of chapters takes Emily to her first urban setting in the form of Venice. While Venice is described as beautiful, in symbolic terms it represents a far more ambiguous space than the idyllic French countryside. It is a place of gaiety and merriment, but also the den of vices like gaming. It is in Venice that Emily encounters the suave but persistent Count Morano, Signora Livoni—who will later turn out to be Montoni’s mistress—as well as urban phenomena such as the opera. Emily’s reaction to the opera is emblematic of the novel’s attitude toward the city: “she felt how infinitely inferior all the splendor of art is to the sublimity of nature” (290, emphasis added). The city therefore represents artificiality and sin, while the countryside represents nature, purity, and virtue.
By Ann Radcliffe