56 pages • 1 hour read
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.
As Julia and Ferdinand begin to enact their plan, they are interrupted by the friar who heard Vincent's confession. They fear that he will reveal them to the Abate, but what he knows about the marquis has compelled him to help them escape. The pair proceed swiftly through the night and briefly hide in a cave when they hear voices in pursuit. In the morning, they reach the coast and Ferdinand obtains passage to Italy on a small boat. As their view of Sicily recedes, a storm arrives and forces them into lifeboats, and they wash up on a shore, not knowing whether they are back in Sicily or on another island.
The ship's captain, crew, and passengers approach a villa, where they are met by a polite cavalier who offers them refreshment and a place to rest. Julia and Ferdinand spend the day at the villa, where they are lavished with attention by the cavalier's wife and sister. Meanwhile, the Abate discovers Julia's escape and the news quickly reaches the marquis. Upon discovering Ferdinand's escape from Mazzini, the marquis orders his men to find his children.
Hippolitus heals from his wounds on the coast of Calabria, where he long assumed that Julia had been forced to marry the duke. He sends emissaries to discover her fate, who bring news that she is hidden at St. Augustin. Hippolitus sets out for the monastery as soon as he is well enough to travel, but he is grief-stricken when he learns that she has fled. He sets out in the night and is so distracted by thoughts of Julia that he gets lost in the woods. He reaches what appears to be a ruined monastery and hears sounds of distress and pain. Looking in a window, he sees a bleeding man surrounded by banditti. When the criminals see him, he flees and follows a winding passage and a flight of steps, then reaches a door, which opens into a room where a young woman is lying prostrate on the floor with banditti fighting over her. After they leave, Hippolitus bursts into the room to save her and discovers that it is Julia struggling with one of the men, whom Hippolitus then fights and defeats.
Hippolitus flees with Julia. Winding ever deeper through the passages of the ruined building, they find themselves in a dark vault, which they discover is the place where the banditti leave the bodies of those they have robbed and murdered, in various states which “exhibited a spectacle too shocking for humanity” (144). Before long they hear a tremendous uproar, and a party of men rush into the vault—officers of justice sent by one of the banditti's escaped victims. Though Hippolitus and Julia inquire after Ferdinand, the officers say that they have not seen him, and Hippolitus surmises that the dying cavalier he first saw was his friend. Further chaos ensues between the officers and the banditti, which Hippolitus and Julia escape through a trap door in the floor, following a passage that leads to a cave and then a forest.
After finding safety in a nearby village, Hippolitus proposes that he and Julia marry before anything else can separate them, but Julia does not want her wedding day marred by her anxieties about Ferdinand's fate. They acquire horses and set out for the convent at Palini. However, they are once more pursued by the duke and are separated as they flee. Finding a door recessed in a rock, Julia runs into a deep cavern, sure that all is lost and that both her brother and her lover are dead. She makes her way through another door and sees the pale figure of a woman.
Rising, the woman calls Julia “daughter” and faints. Julia examines her features and finds that they resemble Emilia's, and her mother wakens to ask whether the marquis has relented in his torment of her or died himself. Julia reports her adventures and shares that Emilia is living in the castle but Ferdinand is dead. Footsteps approach, and Julia conceals herself as the marquis enters with food, then leaves once more.
Julia's mother, the marchioness, relates that she has been a captive in these passages for seven years, since the marquis was charmed by Maria de Vellorno and the marchioness became ill with grief. Pretending that her illness led to death, the marquis had Vincent convey his first wife to her prison and hold a fake burial so that he could marry Maria de Vellorno. Vincent brought her provisions for survival until his death, when the marquis took the job once more. Julia realizes that all the mysterious lights and noises she and Ferdinand have observed were the coming and going of Vincent and the marquis, or of her mother moving through the passages.
The marchioness reveals that Vincent once allowed her to sit at a window and watch her daughters pass, but she was so much agitated by seeing them and not being able to contact them that he never allowed it again. Julia in turn narrates the events that led her to her mother and convinces her to escape out the door through which Julia entered. They find that the door has locked automatically from the outside. Julia says that she would rather remain confined with her mother than marry the Duke de Luovo, and they agree to share the rations brought by the marquis.
For a good portion of these chapters, the characters have little sense of where they are, as stormy weather, mistaken identities, and gloomy Landscapes create a Gothic sense of confusion and unease. They are unsure whether they are still on the island of Sicily, or whether their ship wrecked on another shore; near the safety of a village, or the danger of a cave full of banditti; nearing Palini, or right back at the castle they set out to escape. The frequent shifts between abject terror and miraculous rescue lend a sense of being off-balance, as dread is followed by relief and followed by dread again.
Radcliffe uses the Romanticization of the Natural World to manipulate the characters movements, as nature itself reveals them to pursuers in a bright moon “suddenly emerging from a dark cloud” (129) and a storm that steers their ship “furiously before the wind” (131). These unexpected complications created by the natural world place the characters back where they are meant to be. They also place them within the reach of evil, as represented by the banditti.
The apprehension of Julia, Ferdinand, and Hippolitus mirrors their original apprehension by the marquis as Julia and Hippolitus attempt to elope. This time it is Ferdinand, not Hippolitus, who is mistakenly believed to be dead, and Julia once again finds herself on her own, in charge of her own fate. The circularity of Julia’s journey is made literal when she finds herself within the very part of the Mazzini castle that she and Ferdinand were attempting to explore at the beginning of the novel. The discovery that her mother lives and the explanations Louisa provides about the secret legacy of the marquis tie up several loose ends. This symbolic and literal circularity suggests that the plot is nearing its conclusion.
The explanation that Louisa was the cause of the supernatural sounds also confirms Radcliffe’s emphasis on The Use of Rational Thought to Explore the Supernatural. Julia’s willingness to condemn herself to a life underground because “any fate is preferable to” marriage to the duke represents her total rejection of patriarchal power (159), even as it continues to imprison her. This highlights the fact that patriarchal violence, the rational explanation of the sounds, is the real source of terror in the text.
By Ann Radcliffe