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3.28 AVERAGE
3.28 AVERAGE
In 1580s France, young Emily St. Aubert is orphaned and later imprisoned in a remote castle in this dreamlike, rambling gothic classic. Approach Udolpho burdened by expectation, and the book may be a disappointment. It's an influential, classic piece of gothic literature, yet two thirds of it takes place not in the dark halls of Udolpho but in the French countryside. It's both exemplified and criticized for its gothic clichés of haunted castles and fainting women, yet for every ghostly mystery is a dry, factual explanation, and this insistance upon the "explained supernatural" can be both disappointing and anticlimactic. Slow pacing, clunky narrative arcs, and unrealistic explication may frustrate modern readers, but what makes the book a disappointment is that it doesn't not seem as gothic as it could be—or as popular knowledge represents it.
But approach the book with indulgence and patience, and it has moments to reward both. Fans of gothic literature will still find Udolpho an interesting view into the genre's development, particularly in the role of the sublime and the function of human imagination (in place of literal supernatural events) to create horror. And, in defiance of its other limitations, Udolpho has some exceptional moments—sympathetic and honest human interactions, perceptions into human thought, evocative atmospheric and natural descriptions. These moments vary from indulgently gothic to thoughtful or romantic, but each is a quiet delight. Udolpho may not have stood the test of time ("a lot of the book's emotional force has dissipated (xxi)," states Castle in the incisive, apt introduction to the Oxford World Classic edition), and the book is not for all readers, but it is an important and interesting historical selection of the gothic genre—and to the reader who has patience for the book's failings and interest in its strengths, there is something of value here: a number of surprisingly atmospheric, perceptive moments sprinkled within a dreamlike, rambling story of shifting tone and setting. I give it a mediocre recommendation—to the right sort of reader.
But approach the book with indulgence and patience, and it has moments to reward both. Fans of gothic literature will still find Udolpho an interesting view into the genre's development, particularly in the role of the sublime and the function of human imagination (in place of literal supernatural events) to create horror. And, in defiance of its other limitations, Udolpho has some exceptional moments—sympathetic and honest human interactions, perceptions into human thought, evocative atmospheric and natural descriptions. These moments vary from indulgently gothic to thoughtful or romantic, but each is a quiet delight. Udolpho may not have stood the test of time ("a lot of the book's emotional force has dissipated (xxi)," states Castle in the incisive, apt introduction to the Oxford World Classic edition), and the book is not for all readers, but it is an important and interesting historical selection of the gothic genre—and to the reader who has patience for the book's failings and interest in its strengths, there is something of value here: a number of surprisingly atmospheric, perceptive moments sprinkled within a dreamlike, rambling story of shifting tone and setting. I give it a mediocre recommendation—to the right sort of reader.
dark
emotional
mysterious
reflective
tense
slow-paced
Five stars for historical interest, minus one for a slow narrative even for its day, and minus one for sexism, and minus one for racism.
Having read Udolpho, I'm an even bigger fan than before of my favorite Jane Austen novel, "Northanger Abbey," which is even more delightful plus a huge relief once you know what it was spoofing. Mrs Radcliffe's excellent adventure is full of over-the-top sentimentality, in addition to the preposterous horrors I was prepared for by Austen's spoof.
If you can agree that swarthy Italians are likely treacherous lecherous villains, and that young Englishwomen are delicate flowers full of poetic sensitivities, then you'll have no problem with the storyline.
If you've got all day to read a plodding travelogue's glowing sceneries, and a gushing heroine's sentimental verse, before getting on with the narrative, you'll have no problem with the pace.
If, however, dear reader, you catch yourself reflecting on the role of such entertainments in reinforcing attitudes that were played out in real atrocities against women and people of color, then you might find yourself reading with a very real horror unanticipated by the author of this story of horrifying abductions and murder.
I can't give 5 stars as if recommending this novel to the general reader. But if you are interested in the history of the novel form, in expanding your knowledge of 18th century popular novels, or in this novel in particular as the basis of Austen's sendup, then do enjoy it. It delivers all that, plus revelations of entrenched prejudices in its day.
Having read Udolpho, I'm an even bigger fan than before of my favorite Jane Austen novel, "Northanger Abbey," which is even more delightful plus a huge relief once you know what it was spoofing. Mrs Radcliffe's excellent adventure is full of over-the-top sentimentality, in addition to the preposterous horrors I was prepared for by Austen's spoof.
If you can agree that swarthy Italians are likely treacherous lecherous villains, and that young Englishwomen are delicate flowers full of poetic sensitivities, then you'll have no problem with the storyline.
If you've got all day to read a plodding travelogue's glowing sceneries, and a gushing heroine's sentimental verse, before getting on with the narrative, you'll have no problem with the pace.
If, however, dear reader, you catch yourself reflecting on the role of such entertainments in reinforcing attitudes that were played out in real atrocities against women and people of color, then you might find yourself reading with a very real horror unanticipated by the author of this story of horrifying abductions and murder.
I can't give 5 stars as if recommending this novel to the general reader. But if you are interested in the history of the novel form, in expanding your knowledge of 18th century popular novels, or in this novel in particular as the basis of Austen's sendup, then do enjoy it. It delivers all that, plus revelations of entrenched prejudices in its day.
dark
emotional
sad
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Full disclaimer: I did not read one poem in this novel. I personally do not like poetry and if I had tried to read them, I would've given this book a much lower rating. You really don't need them to fully understand or enjoy the story, but they would add to the descriptions of the surrounding nature
I first heard about this book in Jane Austen's Northanger Abbey. Its been two years since I first read Northanger, so I don't remember what exactly drew me in to wanting to read the novel the characters all seemed to love. But I am so glad I got a hold of my own copy.
I loved every character in this story. Some not at first, but eventually I grew to love them. Even Madam Montoni. I really enjoyed reading from Emily's perspective. I agree that she cries and faints a lot, but she did show that she can be very brave. And who wouldn't cry in some of those situations?
I also really liked Valancourt. It was nice to see a hero who is willing to do anything to help those around him, all the while also being emotional and insecure when it comes to love. This is also the one of the few times where the miscommunication between the young lovers doesn't make me want to pull my hair out. I hate when characters just choose not to talk to each other, especially when they are dating or courting or whatever. While the couple should've talked more and Valancourt should've explained exactly his situation, neither character were fully in control of their emotions and Emily was getting wrong in formation through the grapevine.
I also really enjoyed Annette, even though the characters didn't seem to. I was actually picturing her as my coworker Annette the whole time. I just thought she was a nice bit of relief from the doom and gloom in the castle while also giving Emily and the reader more info about the castle.
Speaking of the castle, I really wish more of the story had been based in Udolpho. There was so much Radcliff could've expanded on, but instead she wrote poems. Montoni was super mysterious, mostly because we never got a full idea of his plans. I think his end game was just getting more money, but I would've liked to know more details. But we mostly got the story through Emily's POV and she didn't go snooping enough to really know much.
We also didn't get to Udolpho until about 200 pages in. I am glad we had a long introduction to Valancourt, because when the young lovers were separated I was tearing up. I was really rooting for these kids. But then we were only at Udolpho for a few hundred pages. Sure we got a different spooky location, but I wanted more of the OG spooky location. The story also started to drag at this point for me.
It was all still very enjoyable and I do not mind slow classics at all. I am looking forward to reading more from Ann Radcliff
I first heard about this book in Jane Austen's Northanger Abbey. Its been two years since I first read Northanger, so I don't remember what exactly drew me in to wanting to read the novel the characters all seemed to love. But I am so glad I got a hold of my own copy.
I loved every character in this story. Some not at first, but eventually I grew to love them. Even Madam Montoni. I really enjoyed reading from Emily's perspective. I agree that she cries and faints a lot, but she did show that she can be very brave. And who wouldn't cry in some of those situations?
I also really liked Valancourt. It was nice to see a hero who is willing to do anything to help those around him, all the while also being emotional and insecure when it comes to love. This is also the one of the few times where the miscommunication between the young lovers doesn't make me want to pull my hair out. I hate when characters just choose not to talk to each other, especially when they are dating or courting or whatever. While the couple should've talked more and Valancourt should've explained exactly his situation, neither character were fully in control of their emotions and Emily was getting wrong in formation through the grapevine.
I also really enjoyed Annette, even though the characters didn't seem to. I was actually picturing her as my coworker Annette the whole time. I just thought she was a nice bit of relief from the doom and gloom in the castle while also giving Emily and the reader more info about the castle.
Speaking of the castle, I really wish more of the story had been based in Udolpho. There was so much Radcliff could've expanded on, but instead she wrote poems. Montoni was super mysterious, mostly because we never got a full idea of his plans. I think his end game was just getting more money, but I would've liked to know more details. But we mostly got the story through Emily's POV and she didn't go snooping enough to really know much.
We also didn't get to Udolpho until about 200 pages in. I am glad we had a long introduction to Valancourt, because when the young lovers were separated I was tearing up. I was really rooting for these kids. But then we were only at Udolpho for a few hundred pages. Sure we got a different spooky location, but I wanted more of the OG spooky location. The story also started to drag at this point for me.
It was all still very enjoyable and I do not mind slow classics at all. I am looking forward to reading more from Ann Radcliff
It was interesting to read this very old novel. It had many repetitive points, and probably could have been shorter, but it was still fascinating. The mysteries that were later solved, the good guys getting the happy ending. I could see how modern novels sprung from this time period and even this genre.
adventurous
dark
mysterious
slow-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
No
A long and arduous series of unfortunate events
dark
emotional
mysterious
sad
tense
slow-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
No
adventurous
emotional
hopeful
mysterious
slow-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
No