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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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Through a flashback, the narrative recalls the day Montoni left Venice. Montoni receives intelligence that Morano’s fortunes are lesser than Montoni assumed. Montoni suspects Morano had meant to defraud him and leaves Venice immediately. Morano arrives at the mansion for his bride but finds it empty and vows revenge on Montoni. He follows the Montoni retinue to Udolpho and hangs about the castle. When he finally gets a meeting with Montoni, Montoni promises to settle the matter the next day. Morano suspects Montoni is planning to swindle him and therefore decides to abduct Emily. Carlo, Montoni’s servant, hears Manchon growling from Emily’s chambers and, suspecting an intruder, calls for Montoni. Emily is rescued.
In the present, Montoni investigates who handed Morano the keys to the castle so he could enter Emily’s rooms. He suspects Barnardine the porter, but acquits him. (It turns out Barnardine is actually guilty). Montoni and Madame Montoni fight bitterly. Afterward, Madame Montoni admits to Emily that she has made a bad marriage. Montoni is in great debt, with “scarcely a sequin of his own” (427). He has whisked Madame Montoni away from her own country so he can pressure her to sign away her fortune to repay his debts. Madame Montoni plans to stand up to her husband, but Emily asks her to be prudent since Montoni has a terrible temper. Madame Montoni misunderstands Emily and dismisses her.
Annette shows Emily a portrait of the lady of Udolpho, which is kept in a secret chamber. The lady disappeared 20 years ago. Annette also tells Emily about Madame Montoni badmouthing her, an accusation against which Emily defends her aunt. Privately, Emily is hurt at her aunt’s behavior.
Meanwhile, Montoni tells Verezzi and Cavigni the story of his inheriting Udolpho. Signora Laurentini, his distant relative, rejected his proposal because she loved someone else. Montoni thinks this man did not love her in return, which is why she “put a period to her own life” (440). When Montoni says he will repeat the exact circumstances of her tragedy, a spooky disembodied voice commands “repeat them!” (441). The friends are scared and look around but cannot see anyone. Montoni continues the story but is interrupted again by the voice saying “listen” (441). Admitting that the voice is not a figment of his imagination, Montoni refuses to continue the tale.
Valancourt’s regiment is still posted near Toulouse. Missing Emily terribly, he bribes a servant to visit Madame Montoni’s estate so he can revisit the sites of their meetings. He daydreams about Emily and worries about Montoni’s treatment of her. Soon, his battalion is transferred to Paris. Fretting about Emily, Valancourt does not take part in Paris’s festivities with his fellow officers. The officers consider him arrogant and begin to turn against him. Unaware of their scheming, Valancourt finds solace in the company of the older Countess Lacleur. Gambling takes place freely at Countess Lacleur’s parties, but Valancourt cannot see through her lack of ethics. In Emily’s absence, Valancourt begins to lose himself in questionable company.
Emily pines for Valancourt. Montoni rationalizes the event about the voice and decides it must have been a servant playing a prank on him and his friends. Annette tells Emily the castle is being fortified and dangerous-looking men are gathering around the place. Her beloved—and Montoni’s servant—Ludovico suspects Montoni is the captain of a band of robbers.
Emily hears a loud knocking at her door and worries it is one of the dangerous men come to murder or rob her. She opens the door to the stairway and finds Annette there, unconscious. Annette awakens and tells Emily she fainted after seeing an apparition.
When Madame Montoni refuses to sign over her estate, Montoni threatens to imprison her in the castle’s lonely east tower. Madame Montoni has a seizure in fright. Emily convinces Montoni to give his wife one more day to reconsider. Madame Montoni confides to Emily that if she dies without signing her estates, they will directly pass to her niece.
Madame Montoni recovers from her seizure. Emily is to dine with Montoni and the large group of soldiers he has assembled. When Emily wears a simple outfit for dinner, Montoni orders her instead to put on her “most splendid dress” (474). Emily is uncomfortable during dinner, with all the men talking about violence and politics. Montoni raises his wine glass in a toast. Before he can drink it, the wine begins to hiss and the glass shatters. Montoni sees this as evidence of his wine being poisoned and declares there is a traitor in their midst. The men draw out their swords. Montoni orders that all potential culprits be locked in the dungeons. He also locks up Emily with Madame Montoni. From behind the locked door, Annette tells the ladies that fighting has broken out in the castle.
Montoni returns and accuses Madame Montoni of conspiring to kill him. She denies the accusation, but he has her sent to the east turret. Emily faints in fear. When she wakes up, she finds the door to the room unlocked and gets out. She finds Annette crying inside a locked room. Ludovico had locked her in to protect her from the fighting. Emily is unable to open the door. She roams around alone in a state of confusion, fearing for her aunt’s well-being. She sees blood on a stairway and suspects Montoni has murdered Madame Montoni. She goes to her room afraid.
The next morning, Emily asks Montoni to let Annette out of the locked room. She also asks Montoni about her aunt’s whereabouts and he replies, “she is taken care of” (497). Montoni seems preoccupied, and there is evidence of a fierce battle everywhere. Annette is released and tells Emily she fears Ludovico is seriously wounded. Emily comforts Annette and later withdraws to her casement to soothe her anxious mind. She hears beautiful, calming music from somewhere, which reminds her of St. Aubert’s playing. Emily wonders if this is otherworldly music. If it is earthly music, she is sure she will hear it again.
Annette arrives breathless at Emily’s rooms the next morning to tell her some news. Orsino, the accused murderer, has been hiding at Udolpho all along. Emily wonders if it was Orsino’s music she heard earlier. She asks Annette about musicians in Udolpho, but Annette does not know any. Annette fears that Madame Montoni has disappeared, like the first lady of Udolpho. She inquires about Madame Montoni and discovers that Barnardine, the porter, may have some information. Barnardine tells Annette he can take Emily to see Madame Montoni but that Emily must come alone and meet him late at night.
This concluding section of Volume 2 resolves some matters, while leaving many mysteries tantalizingly open. The section ends on a cliffhanger: Barnardine’s obviously dangerous proposition for Emily. In the novel, chapters at the end of volumes often end on such cliffhangers. Cliffhangers and open mysteries are important narrative conventions for a novel published in volumes, since they keep the reader invested in the plot till the next volume appears. Some prominent mysteries left open in this set of chapters are the fate of Madame Montoni, the strange voice Montoni hears, and the music Emily hears every night.
The text also features prominent narrative asides, such as the one recounting Valancourt’s fall in Chapter 8. Valancourt’s straying foreshadows more obstacles in his relationship with Emily. It also spells out the importance of Emily as a moral compass in Valancourt’s life: “Emily […] had she been present, would have saved him from these evils by awakening his heart, and engaging him in worthy pursuits” (448). The text contrasts Valancourt’s fallibility with Emily’s steadfastness, when the narrator archly notes that Valancourt was so “dangerously circumstanced” (449) through his own failings at the same time when Emily was battling the persecution of Count Morano and tyranny of Montoni. The implication is that Emily’s troubles are far greater, yet she doesn’t give in to impropriety or temptation.
Montoni’s status as a Gothic villain is cemented in this section, with him locking up his wife in a tower. Montoni is identified with warmongering, excessive violence, and hypermasculinity in the text. He is often depicted with dangerous groups of armed men, is ready to fight at any given second, and shuns female company. He frequently berates and criticizes women, mocking their supposed lack of reason and rationality. Despite these seemingly stereotypically masculine traits, Montoni is not an ideal male, since he does not possess softer, more humane qualities like sensitivity and empathy. In the female Gothic tradition, of which Radcliffe is retrospectively considered a pioneer, the Gothic castle becomes the site of women’s literal and symbolic incarceration. Like Madame Montoni locked up in the east tower of Udolpho, women are confined by patriarchal institutions, as represented by Montoni’s near-total control over his wife and Emily.
The theme of the ambiguity of the city continues in this section, with Paris being the site of Valancourt’s downfall. Valancourt’s arrival in Paris is described as him being “set down in the midst of Paris, with an open, suspicious temper and ardent affections […] without one friend, to warn him of the dangers, to which he was exposed” (448). The city is described as a hostile force capable of robbing the young hero of his innocence and is associated with “scheme and intrigue” (446). Its intimidating architecture and artificial spatial layout mimic its confining effects on virtue and imagination. In contrast, the countryside is open and pure, letting virtue reign supreme.
By Ann Radcliffe