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70 pages 2 hours read

Ann Radcliffe

The Mysteries of Udolpho

Fiction | Novel | Adult | Published in 1794

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Volume 3, Chapters 7-13Chapter Summaries & Analyses

Volume 3

Volume 3, Chapter 7 Summary

Emily delights in the Tuscan landscape. She strikes up a friendship with Maddelina, the daughter of the family with whom she is residing. Maddelina tells Emily that her father Marco was rewarded by Montoni many years ago for doing him a favor. The circumstances of the favor make Emily believe this could be the murder of Signora Laurentini, the missing lady of Udolpho. Though Dorina, Maddelina’s mother, is rude to Emily, her time in Tuscany is generally pleasant. However, she worries about Madame Montoni’s papers, which she left behind in Udolpho while leaving in a hurry.

Volume 3, Chapter 8 Summary

The narrative briefly shifts to Morano, who has been arrested in Venice. After Morano attempted to poison him, Montoni wanted his revenge. Montoni had an anonymous letter sent to the authorities tipping them off about Morano conspiring against the state.

The siege at Udolpho ends and Montoni sends for Emily. Bertrand and Ugo bring her back from Tuscany, again scaring her with frightening stories on the way. The Castle di Udolpho seems silent and deserted when Emily reaches there. On her way to her room, she overhears Montoni, Verezzi, and Bertolini talking about her. Montoni tells the men they can find her in her rooms. Emily hides from the men till she meets Annette.

Montoni resumes threatening Emily over the papers. He suggests he will not protect her from Verezzi unless she signs the papers. On the other hand, she can return to France immediately if she signs away her rights. Feeling mortally threatened, Emily signs the papers with great reluctance. Emily asks Montoni to send her back as she has held her end of the bargain. She fears staying in Udolpho any longer because of Verezzi and Bertolini’s threats. Montoni reveals he never planned to send Emily away till the estates have been fully secured. He has her returned to her rooms, promising he will protect her from his friends.

Emily’s only hope is the mysterious music from Gascony, which she hears again. She thinks this may be Valancourt in the dungeon.

Volume 3, Chapter 9 Summary

Emily passes many days in suspense, with Ludovico and Annette trying to determine if there is indeed a prisoner in the castle’s dungeons. Ludovico brings back the news that there is a man in the dungeons, who claims he knows Emily. The man has given Ludovico a bracelet with Emily’s miniature portrait inside; this is the same bracelet that Madame St. Aubert lost. Emily is overjoyed, believing the man to be none other than Valancourt. She asks Ludovico to arrange a meeting. Montoni has lost huge sums of money to Verezzi, and Emily fears her step-uncle means to offer her to Verezzi in return. Unbeknownst to Emily, he had previously made and retracted such an offer to Bertolini as well, which now causes the men to squabble.

Emily meets the stranger and is shocked to discover he is not Valancourt. It is a Frenchman called Du Pont, who has long been in love with her. Du Pont has been obsessed with Emily since she lived in La Vallee; it was he who played the music near the fishing house and wrote her the sonnet. He has ended up in Udolpho’s dungeons because of complicated circumstances. Just as Du Pont is about to say more, Verezzi charges in to attack him. Du Pont defeats Verezzi in a duel. Emily entreats Du Pont to leave the castle, but he refuses to let her stay there unprotected.

Ludovico, Annette, and Emily flee from Udolpho on horses they steal from the soldiers. One of the horses carries a bag full of robbed money, which allows the group to secure passage on a ship to France. Du Pont tells Emily he was the mysterious figure she and the watchmen saw on the castle’s ramparts. The mysterious voice and groans were also Du Pont. Du Pont traveled the castle through a series of passages concealed between the walls. Emily decides to live in the convent at Languedoc since La Vallee may not be hers anymore.

Volume 3, Chapter 10 Summary

The narrative shifts to the beginning of 1584, months before the death of St. Aubert. The supposedly haunted chateau in Languedoc, which Emily and her father were warned against, is inherited by Count de Villefort, a relative of the Villerois. Since then, Count de Villefort has had the estate—called the Chateau-La-Blanc—restored. His wife, the Countess de Villefort, and his children from a previous marriage, Blanche and Henri, arrive at the restored chateau and meet the place’s old caretaker, Dorothee. Blanche used to be in a convent. Blanche loves taking walks around the estate, but the countess dislikes Chateau-La-Blanc. Dorothee shows Blanche the suite of rooms in which the Marchioness de Villeroi died.

Volume 3, Chapter 11 Summary

Moved by the beauty of Languedoc, Blanche composes a poem. The Villeforts shelter indoors from a storm when they hear the sounds of gunshots—possibly a sign of distress from an incoming ship. The ship docks in the bay below. The count orders that the ship’s passengers be escorted to his chateau safely. The passengers turn out to be Emily, Du Pont, Annette, and Ludovico. Du Pont and the count turn out to be old acquaintances. Emily wants to go to the convent immediately, but the count asks her to rest at the chateau for the night.

Volume 3, Chapter 12 Summary

On Blanche’s request, the count convinces Emily to stay at the chateau instead of the convent. Emily and Blanche become good friends, bonding over their love of nature. When Emily realizes the chateau is the same mysterious house she and her father had heard of, she asks Dorothee about the mysterious music in the woods. Dorothee says the music has been heard in the woods for many years and may be ghostly. Emily assures her that all old castles appear haunted, but the phenomenon can usually later be rationally explained, as happened at Udolpho.

Blanche is eager to know about the locked rooms in which the Marchioness died, but Dorothee refuses to speak on the subject. Dorothy notes that Emily looks just like the late Marchioness. A few weeks later, Emily leaves the chateau for the convent since she does not want to further torment the lovesick Du Pont. She promises the count she will visit very frequently. At the convent, she gets a letter from the Quesnels. M. Quesnel reproaches her for rejecting Count Morano and suggests she stay on at the convent. 

Volume 3, Chapter 13 Summary

Emily visits Blanche at Chateau-La-Blanc. Struck again by Emily’s resemblance to the Marchioness, Dorothee tells Emily she will tell her about her late lady when the time is right. Emily goes for a solitary walk in the woods, where she runs into Valancourt, accompanied by Henri. Emily and Valancourt reunite. Emily recounts her troubles with Montoni, which greatly moves Valancourt. Valancourt tells Emily he has become unworthy of her. Before Valancourt can tell her what he means, Blanche approaches. Emily introduces Valancourt to the count and his family.

The next day, the count tells Emily that Valancourt is not worthy of her favor. The count and Henri have known Valancourt in Paris, where the young man has a bad reputation. He cheats at cards and has gambled away all his money. Moreover, Valancourt has other vices: He has been jailed twice in Paris, and bailed out by a Parisian Countess, with whom he lives. Emily is so distressed by this information that she faints. When she revives, Valancourt attends to her. Emily tells Valancourt that she is too upset to see him today but will talk to him tomorrow.

Volume 3, Chapters 7-13 Analysis

This section is packed with action, with Emily escaping from Udolpho, relocating to France, and finding a sanctuary in Languedoc. An entirely new set of characters in the form of the Villeforts are introduced, and important mysteries, such as the identity of the French musician at Udolpho, are revealed. Emily and Valancourt’s much-awaited reunion takes place, but a fresh set of obstacles arise. The concluding section of Volume 3 ends on a cliffhanger, with the fate of the main romantic leads of the novel once more unresolved. Thus, Radcliffe keeps the narrative momentum building through new twists and surprises.

The Tuscan interlude at the beginning of this section serves to revive Emily’s spirits, reiterating the idea that proximity to nature is healing and comforting. Significantly, Emily composes a poem during her time in Tuscany, which signifies a return of her creativity and the abatement of her terrors. Emily hears the peasants in Tuscany sing a song called “To a Sea-Nymph”; Emily composed a poem with the same title earlier in the narrative (although the poems differ). The song and poem sharing the same title emphasizes the element of the uncanny which occurs in everyday life. At a metatextual level, the differing poems on the same subject exhibit Radcliffe’s range as a poet.

Back in Udolpho, the physical threats to Emily take centerstage again. Distressingly, Montoni makes the implicit threat that he will let his friends assault Emily if she does not sign the papers he desires. The tightening of the noose around Emily makes her escape a necessity. Emily displays the prudence she advised Madame Montoni to have by signing the papers; this shows Emily is a survivalist. She understands the importance of surviving the present so that she has access to a different future.

Du Pont’s presence explains many of the mysteries of the text, such as the mysterious music, as well as the echoes and groans heard by Montoni and Emily. The rational explanations continue the text’s tendency to explain the supernatural. The reveal of the musician’s true identity as Du Pont also serves to show Emily’s flaw of presumption: As someone with an avid, excitable imagination, Emily does tend to have occasional flights of fancy, especially when under stress. The text suggests she must balance this tendency with rationality.

Two prominent genre conventions used generously in this section are the deux ex machina (“God from the machine”), a term used to denote an improbable resolution through an abrupt intervention from an external force, and the coincidence. Emily’s ship miraculously lands in the bay near Chateau-La-Blanc as if by divine intervention. Coincidentally, she finds sanctuary in the very haunted house she and her father were asked to avoid. Though these coincidences may seem too pat to the contemporary reader, they were a staple in the novel form in the 18th century.

By the end of this section, several plot points begin to converge, signaling a move toward the resolution of the story. Count Morano’s fate establishes the theme of just desserts in the novel, with unsympathetic characters in the text often meeting unhappy ends, such as befalls both Morano and Madame Montoni. The return to France marks a change in fortunes for Emily. Changes of setting in the novel symbolize the journey and fate of characters; for Emily, the move from Udolpho symbolizes a journey back to her autonomy. The haunted chateau of which the St. Auberts heard in Volume 1 returns as a key setting. The story of the Villerois, near whose monument St. Aubert is buried, is picked up again. With most key plot points aligned and chief players moved to one setting, the novel is heading toward a comedic resolution or a happy finale.

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