A Sicilian Romance by Ann Radcliffe (read this if .TXT) π
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A Sicilian Romance begins when a tourist meets a local monk at the crumbling ruins of the castle Mazzini. The monk invites her to the monastery to view a manuscript that records the mysterious happenings that occurred hundreds of years ago in the once-great castle. The manuscript tells of the plight of two sisters, Julia and Emilia Mazzini, who, after the return of their tyrannical father, witness supernatural phenomena around the castleβs neglected southern wing.
Radcliffe was viewed as the greatest writer of the Gothic literary style by most early 19th century critics and literary historians despite Horace Walpole seemingly βinventingβ the genre in The Castle of Otranto. A Sicilian Romance was first published anonymously in 1790, making it the second of her published works.
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- Author: Ann Radcliffe
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They obeyed, and descended with the marquis, who, arriving at the dungeon, instantly threw open the door, and discovered to the astonished eyes of his attendantsβ βFerdinand!β βHe started with surprise at the entrance of his father thus attended. The marquis darted upon him a severe look, which he perfectly comprehended.β ββNow,β cried he, turning to his people, βwhat do you see? My son, whom I myself placed here, and whose voice, which answered to your calls, you have transformed into unknown sounds. Speak, Ferdinand, and confirm what I say.β Ferdinand did so. βWhat dreadful spectre appeared to you last night?β resumed the marquis, looking stedfastly upon him: βgratify these fellows with a description of it, for they cannot exist without something of the marvellous.β βNone, my lord,β replied Ferdinand, who too well understood the manner of the marquis. βββTis well,β cried the marquis, βand this is the last time,β turning to his attendants, βthat your folly shall be treated with so much lenity.β He ceased to urge the subject, and forbore to ask Ferdinand even one question before his servants, concerning the nocturnal sounds described by Peter. He quitted the dungeon with eyes steadily bent in anger and suspicion upon Ferdinand. The marquis suspected that the fears of his son had inadvertently betrayed to Peter a part of the secret entrusted to him, and he artfully interrogated Peter with seeming carelessness, concerning the circumstances of the preceding night. From him he drew such answers as honorably acquitted Ferdinand of indiscretion, and relieved himself from tormenting apprehensions.
The following night passed quietly away; neither sound nor appearance disturbed the peace of Ferdinand. The marquis, on the next day, thought proper to soften the severity of his sufferings, and he was removed from his dungeon to a room strongly grated, but exposed to the light of day.
Meanwhile a circumstance occurred which increased the general discord, and threatened Emilia with the loss of her last remaining comfortβ βthe advice and consolation of Madame de Menon. The marchioness, whose passion for the Count de Vereza had at length yielded to absence, and the pressure of present circumstances, now bestowed her smiles upon a young Italian cavalier, a visitor at the castle, who possessed too much of the spirit of gallantry to permit a lady to languish in vain. The marquis, whose mind was occupied with other passions, was insensible to the misconduct of his wife, who at all times had the address to disguise her vices beneath the gloss of virtue and innocent freedom. The intrigue was discovered by madame, who, having one day left a book in the oak parlour, returned thither in search of it. As she opened the door of the apartment, she heard the voice of the cavalier in passionate exclamation; and on entering, discovered him rising in some confusion from the feet of the marchioness, who, darting at madame a look of severity, arose from her seat. Madame, shocked at what she had seen, instantly retired, and buried in her own bosom that secret, the discovery of which would most essentially have poisoned the peace of the marquis. The marchioness, who was a stranger to the generosity of sentiment which actuated Madame de Menon, doubted not that she would seize the moment of retaliation, and expose her conduct where most she dreaded it should be known. The consciousness of guilt tortured her with incessant fear of discovery, and from this period her whole attention was employed to dislodge from the castle the person to whom her character was committed. In this it was not difficult to succeed; for the delicacy of madameβs feelings made her quick to perceive, and to withdraw from a treatment unsuitable to the natural dignity of her character. She therefore resolved to depart from the castle; but disdaining to take an advantage even over a successful enemy, she determined to
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