
If you’ve read my blog before you know I love eighteenth-century British lit, and right now I’m doing my best to acquaint myself with “the canon” of eighteenth-century stuff, so that I can look like I know what I’m talking about.
The Mysteries of Udolpho, by Ann Radcliffe, is supposed to be one of the more important Gothic novels written (the Janeites among you might recognize that Catherine Morland is obsessed with Udolpho in Northanger Abbey). So, having read
The Castle of Otranto, I figured I might as well try to read the other important Gothic novel, and acquaint myself with Ms. Radcliffe’s work.
Oy.
The Mysteries of Udolpho is 700 pages long, and the heroine Emily doesn’t see the Castle of Udolpho until the reader is 200 pages into the story! Before that is a slow-moving, serpentine trek through the mountains, where familial bonds are established, a death in the family occurs, a romance ensues, and Ms. Radcliffe goes into raptures describing sunsets over peaks and pines. I feel like this book is going to be one of those works that I’m going to feel proud about chugging through; whenever someone mentions Udolpho, I’ll start yelling “I’ll read that!” and the person who mentioned it will get all sheepish, because they didn’t actually read it. No one does. Only I am stupid enough to try.
The scholarly intro to my edition makes a point of saying that all of Radcliffe’s digressions into scenic rapture constitute an attempt to write a text that is “painterly.” Furthermore, the scholar contends that these digressions are a deliberate attempt on Radcliffe’s part to free the text from the usual narrative demands of plot and characterization, and as such makes Udolpho an avant-garde, work like that of Virginia Woolf, et al. Well la-di-da.
I do not know anyone that reads Virginia Woolf for fun—well, no one that’s not pursuing a PhD, anyway. Still, modern “avant-garde” stuff is inaccessible to the public but contemporary enough to maintain some credibility with young people that have hipster intellectual pretensions. At least that is the sitch today. If Ms. Radcliffe was trying to be experimental in her day and now her works are considered annoying but obligatory artifacts of literary history, I wonder how today’s “groundbreaking” writers will be treated two hundred years from now. I mean, 700 pages? Sheesh.
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