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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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Emily and Valancourt are sad to part ways. St. Aubert consoles Emily, noting to himself that Valancourt reminds him of his younger self. Emily is concerned about St. Aubert’s continuing bad health. The St. Auberts head to Perpignan, where letters from M. Quesnel are awaiting St. Aubert. Emily looks through a book of Petrarch’s poems, which she took from Valancourt. He has underlined several evocative passages, indicating his love for her.
In Perpignan, St. Aubert appears shattered after reading the letters from M. Quesnel. M. Quesnel has confirmed the bad news he had brought earlier on his visit to the chateau: St. Aubert has lost almost all of his fortune. He tells Emily his biggest fear is she will lose the comfortable life to which she is accustomed. Emily reassures her father that poverty cannot “deprive [them] of […] the affection [they] have for each other” (99). As long as she has the chateau at La Vallee, she will be happy.
St. Aubert and Emily travel along a road with a view of the beautiful Pyrenees mountains. They reach the plains of Languedoc, where St. Aubert privately laments that the wonders of life will soon be lost to him. His sickness is worsening. When St. Aubert feels he cannot travel any further, Emily seeks help from a group of peasants. The peasants tell them there is a chateau in the woods nearby in which they can lodge overnight, but warn that they believe it is haunted. La Voisin, an elderly peasant, offers to lodge the St. Auberts for the evening. At night, mysterious music emanates from the woods. La Voisin believes the woods are haunted since he has heard such music often. He believes it may be linked to the chateau. St. Aubert is surprised to learn this is the Chateau-Le-Blanc, belonging to the recently-deceased Marquis de Villeroi. St. Aubert appears to know the Marquis and asks about his late wife, the Marchioness. Emily is perplexed by her father’s interest in the subject.
Though St. Aubert had intended to travel on the next day, he faints after breakfast and is confined to bed. He tells a distraught Emily that he is dying. He needs an urgent promise from her. St. Aubert exhorts Emily to never sell the chateau at La Vallee under any circumstances. She must also find certain papers hidden in the floor of his closet back home and burn them without examining them. He advises Emily to live life with controlled sensibility, but without falling into the trap of apathy. He appoints his sister, Madame Cheron, as Emily’s guardian. A friar administers the last rites to St. Aubert; St. Aubert dies shortly after, leaving Emily inconsolable.
La Voisin tries to comfort Emily but she is lost in grief. She kisses her father’s lips and composes herself. That night, she hears the strange music again. She wonders if the music is played by departed souls and if her father is now one of the spirits. A sister (nun) from a nearby priory visits to take Emily to the convent, so the abbess can comfort her. On the way back from the convent, La Voisin loses his way in the woods, but refuses to seek help from the nearby chateau. Emily wants to know the reason for his fear of the chateau, but La Voisin does not disclose much. St. Aubert is interred at the church of the convent.
After Emily has rested at the convent for some weeks, Madame Cheron sends an attendant to accompany her back to La Vallee. Emily visits her father’s grave, which is close to the monument of the Villerois. Back at La Vallee, Theresa, the housekeeper, comforts Emily. St. Aubert’s dog Manchon looks for his master.
Madame Cheron invites Emily to her home in Toulouse as Emily’s education is now her responsibility. Emily tells Madame Cheron she wishes to stay at La Vallee for a little longer. Emily feels her happiness now depends on Madame Cheron’s favor, a dependence she does not enjoy. With time, Emily’s “affliction began to soften into melancholy” (157). She often revisits her happy life with her parents. One day, she is reminiscing about her parents in the fishing-house when a stranger appears on the scene. This is Valancourt, who is as surprised to see Emily as she is to see him. Emily tells him about St. Aubert’s passing. Valancourt wishes he had stayed with the St. Auberts. He consoles Emily and escorts her back to the chalet, requesting her for an audience the next morning before he leaves. Emily agrees out of civility. Meanwhile, Emily recalls she still hasn’t found and burnt St. Aubert’s secret papers.
As Emily enters her father’s study, she feels she can see him sitting in his armchair. Such visions have become common in her state of melancholy, but she soon regains her composure and starts retrieving the papers. Though she tries not to read them as per St. Aubert’s injunction, one sentence catches her eye. To remove all further temptation, Emily burns the papers immediately. She finds a miniature portrait of a lady—the same one she saw her father kiss earlier—and decides to keep it. She suspects the lady in the portrait is the Marchioness de Villeroi.
The next morning Valancourt pays Emily a visit and confesses his love for her. He can offer her affection, but his fortune is limited. Although Emily feels drawn to Valancourt, she feels she knows him too little to give him false hope. Valancourt senses her indecision and despairs, but Emily assures him that both she and her late father have always held Valancourt in great esteem. Valancourt reveals that he has been roaming the woods around La Vallee for several days, hoping to see Emily. He will wait for Emily to make up her mind about him.
As Valancourt kisses her hand to say goodbye, Madame Cheron enters the gardens. After Valancourt leaves, Madame Cheron scolds Emily for receiving male guests in her “present unfriended situation” (173). Emily is offended by Madame Cheron’s “coarse speech” (174) and her accusations and tries to distract her. Madame Cheron goes on upbraiding Emily, saying Emily shares her father’s penchant for appearances and has fallen for Valancourt based on only his pleasant looks. She tells Emily she must leave La Vallee immediately to stop gossip about her. Emily says an unhappy goodbye to La Vallee.
Madame Cheron and Emily leave for Toulouse in a carriage. Emily is relieved Madame Cheron has allowed her to bring the dog with her. Valancourt is in Estuviere, thinking about Emily and their possible future together. Valancourt is the younger brother of the Count de Duvarney. Though the Count has had Valancourt educated well, he has not given him an inheritance. Valancourt is in the army; it was during a leave from his regiment that he met the St. Auberts. He now hopes he can advance in the military so that he has enough money to make a formal suit for Emily. Valancourt worries Emily’s family may reject him for being impoverished. In Toulouse, Emily finds her aunt’s attitude cold and contemptuous. She clings to Manchon for comfort and takes succor in the memory of her father’s teachings.
Madame Cheron’s house in Toulouse is surrounded by sprawling gardens, in which Emily likes to stroll in the mornings. Madame Cheron tells Emily she disproves of such solitary walks, which may be Emily’s excuse for seeking assignations with men. Emily is again appalled by her aunt’s words.
Madame Cheron begins arranging dinner parties so Emily can be introduced in society. Emily meets the handsome and arrogant Signor Montoni and his friend, the sprightly Signor Cavigni. Emily begins to weary of the social engagements and decides to skip a party. That night she sees a stranger pass by the house and is struck by his resemblance to Valancourt. She attributes the sightings to her nerves. The next morning, an outraged Madame Cheron tells Emily she has received a letter of proposal for her. Emily recognizes the handwriting as that of Valancourt. Madame Cheron asks Emily not to communicate with Valancourt without her permission. Emily agrees. When Valancourt visits Madame Cheron, she dismisses him rudely. She bids Emily to attend Madame Clairval’s party with her.
Emily is surprised to see Valancourt at the party. Madame Cheron talks ill of Valancourt to Madame Clairval, but is mortified to learn Valancourt is her nephew. With the question of Valancourt’s antecedents settled, Madame Cheron allows him an audience on Emily’s behalf. Meanwhile, Emily notes Montoni paying excessive attention to Madame Cheron. Emily begins to meet Valancourt under Madame Cheron’s supervision. She finds time spent with him peaceful and happy. Montoni courts Madame Cheron.
Madame Clairval and Madame Cheron plan a quick wedding for Emily, each thinking the alliance will help them gain access to the other’s fortune. Emily, who is unaware of the ulterior motives of the older women, is pleasantly surprised at the news. The plans are upturned when Madame Cheron declares she and Montoni have gotten married. Emily and Valancourt’s wedding will be held a little later, and Madame Cheron is to now go by the title of Madame Montoni. Emily and Valancourt are disappointed by the delay. Montoni takes over the household, moving in Cavigni. Montoni decides that the household, including Emily, should move to Italy. He cancels Emily’s proposed engagement to Valancourt, deeming the match to be inferior.
Emily hates the prospect of being separated from Valancourt and going to Italy, a strife-ridden country “where every petty state was at war with its neighbor” (224). Valancourt visits her secretly and begs her to elope with him. Emily confesses that though she loves Valancourt very dearly, in her position a clandestine marriage would be wrong. A heartbroken Valancourt bids her goodbye, asks her to be careful of Montoni, whom he dislikes, and promises that they will be reunited soon.
While the first set of chapters introduced the key themes and motifs of the narrative and established the background of the main characters, this section sees the plot quicken. The text’s Gothic elements become more apparent and its arch-villain is introduced.
In terms of plot development, the most important event is the death of St. Aubert. Emily is orphaned, which casts her in the role of the imperiled, beautiful heroine of a typical Gothic romance. Emily now begins her journey of navigating the difficult outside world alone. Cast out from the loving idyll of La Vallee and the beautiful French countryside, Emily must travel treacherous internal and external landscapes. This journey from the beautiful and familiar to the terrible and strange is mirrored literally in changes of place—from La Vallee to Toulouse and beyond— and figuratively through the change in Emily’s state of mind. The journey can also be tracked in terms of the worsening quality of the people Emily encounters. Away from the loving company of St. Aubert and Valancourt, she has to endure unscrupulous and apathetic characters like Madame Cheron and M. Quesnel. Emily’s sphere of interaction now includes even malicious characters, such as Montoni.
Terrible as Emily’s journey is going to be, it is crucial in terms of the development of her character. The text predicts Emily’s character arc. In Chapter 6, Emily consoles her father after he loses much of his fortune. This brief reversal of roles, with Emily comforting her father, foreshadows the fact that Emily will soon have to be her own parent in a friendless world. It also reflects Emily’s growing maturity, such as when she tells her father, “We shall not feel the want of those luxuries, which others value so highly, since we never had a taste for them” (99). Her rejection of materialism and indifference to wealth are early indications that Emily is St. Aubert’s true heir and will gradually replace him as the moral center of the novel’s universe.
In terms of Gothic elements, the motif of unexplained supernatural occurrences begins to gain prominence. Strange musical interludes, such as when Emily earlier heard the lute playing near the fishing-house, now become imbued with supernatural significance. For instance, Emily and St. Aubert hear disembodied music when they pass through the woods near Languedoc. The peasant who hosts them for the night tells them this music has been heard for many years and is thought to play near houses “where there [is] a dying person” (116), filling Emily “with a superstitious dread entirely new to her” (117). The mention of the haunted chateau in Chapter 7 is another instance of a Gothic convention—this time the haunted house—coming into play. Gothic narratives often use architecture and spaces to build atmosphere and plot. One such space is a convent or a priory, with nuns and priests often depicted unfavorably. The Mysteries of Udolpho features a convent as well, introduced in this section. However, in the novel, the convent of St. Clare, where Emily seeks solace after her father’s death, is portrayed as a sanctuary and a maternal space of comfort for Emily.
Another Gothic element introduced is a tyrannical, threatening male villain in the form of Montoni. It should be noted that Montoni, who is first described as haughty, now emerges as a far more sinister figure. By the end of Volume 1, he has forced Emily’s separation from Valancourt and is described as a man who cannot enjoy the festivities of his own wedding because of “the severity of his temper and the gloominess of his pride” (222).
However, none of the supernatural-seeming occurrences are yet explained; neither do they end up posing a great threat at this stage. For example, the peasant mentions that though there is a superstition about the music, no one who heard the music died immediately. The supernatural is limited to hints, which foreshadows the fact that it will be later explained away rationally. Indeed, the real threat Emily faces is from real, living people. Radcliffe’s work is often described as mock-Gothic or a parody of the Gothic, since she uses Gothic elements to show their terrors are more tricks of the mind and superstition. This section also introduces several plot elements which will eventually tie into Emily’s story, such as the mention of the Villerois, the owners of the supposedly haunted chateau in Languedoc. A sense of intrigue continues to escalate with mysteries, like St. Aubert’s injunction for Emily to burn his papers without looking, piling up.
Meanwhile, Madame Cheron’s treatment of the orphaned Emily raises important questions about class, power dynamics, property inheritance, and gender roles. For Madame Cheron, Emily, now an orphan without her previous wealth, is suspicious and expendable. Emily’s lack of money and a parent becomes a character flaw in the eyes of Madame Cheron. Thus, when she sees Emily and Valancourt together, she accuses Emily of improper conduct, warning her that “the world will observe those things, and it will talk, aye, and very freely too” (173). Madame Cheron’s insistence on propriety on the part of a young woman highlights the social pressures on Emily. As a single, dependent woman of noble birth, Emily must always present a blameless, modest front lest she incur the displeasure of her relatives. That is partly why Emily refuses to elope with Valancourt, choosing to stay at the mercy of hostile relatives. This episode highlights how women in the novel’s milieu have limited choices and a tightrope to walk to achieve their goals and happiness. Emily’s decision to not make a clandestine marriage is also written keeping in mind the mores of Radcliffe’s time and the tastes of her readership. Radcliffe is very aware that she is writing a moral novel with a lesson to impart; further, one of the narrative’s key themes is The Importance of Balancing Sensibility and Reason. Given this context, Emily’s choice is apt.
Valancourt’s suspicions about Montoni prove he is a good judge of character and foreshadow the troubles waiting for Emily. Emily’s parting from Valancourt signifies her final break from home, safety, and comfort, with her fate left in the balance. The first volume ends on this cliffhanger, continuing the momentum and tension in the narrative.
By Ann Radcliffe