Woman's Work in English Fiction, from the Restoration to the Mid-Victorian PeriodWhitmore, Clara Helen
History
Woman's Work in English Fiction, from the Restoration to the Mid-Victorian Period
Whitmore, Clara Helen
English fiction -- Women authors -- History and criticism; Women and literature -- Great Britain -- History
Twelve years passed before Walpole's novel found another imitator in
Mrs. Ann Radcliffe, who so far excelled her two predecessors that she
has been called the founder of the Gothic romance, and in this field she
remains without a peer. In her first novel, _The Castles of Athlin and
Dunbayne_, as in _The Old English Baron_ by Clara Reeve, a peasant
renowned for his courage and virtue loves and is beloved by a lady of
rank. A strawberry mark on his arm proves that he is the Baron Malcolm
and owner of the castle of Dunbayne, at which juncture amid great
rejoicings the story ends.
The characters and the style foreshadow Mrs. Radcliffe's later work.
The usurping Baron of Dunbayne, who has imprisoned in his castle the
women who might oppose his ambition; the two melancholy widows; their
gentle and pensive daughters; their brave, loyal, and virtuous sons in
love respectively with the two daughters; the Count Santmorin, bold and
passionate, who endeavours by force to carry off the woman he
loves--these are types that Mrs. Radcliffe repeatedly developed until in
her later novels they became real men and women with strong conflicting
emotions.
But superior to all her other powers is her ability to awaken a feeling
of the presence of the supernatural. The castle of Dunbayne has secret
doors and subterranean passages. The mysterious sound, as of a lute, is
wafted on the air from an unknown source. Alleyn, in endeavouring to
escape through a secret passage, stumbles over something in the dark,
and, on stooping to learn what it is, finds the cold hand of a corpse in
his grasp. This dead man has nothing to do with the story, but is
introduced merely to make the reader shudder, which Mrs. Radcliffe never
fails to do, even after we have learned all the secrets of her art. We
learn later in the book how the corpse happened to be left here
unburied; for in that day of intense realism, half-way between the
ancient belief in ghosts and the modern interest in mental suggestion,
every occurrence outside the known laws of physics was greeted with a
cynical smile. But, although Mrs. Radcliffe always explains the mystery
in her books, we hold our breath whenever she designs that we shall.
Public-domain text, read in full here on John Shaqi.
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