The Italian Essay -- essays research papers

In Ann Radcliffe's "The Italian", the very first thing that we see described is a veiled woman: "It was in the church of San Lorenzo at Naples, in the year 1758, that Vincentio di Vivaldi first saw Ellena di Rosalba. The sweetness and fine expression of her voice attracted his attention to her figure, which had a distinguished air of delicacy and grace; but her face was concealed in her veil. So much was he fascinated by the voice, that a most painful curiosity was excited as to her countenance, which he fancied must express all the sensibility of character that the modulation of her tones indicated" (5).Even without knowing anything about Gothic elements, this indicates very clearly what the quality and tone of the book are going to be like. Vivaldi's pursuit of the veiled woman is a signal that his is the pursuit of the mysterious, with the certainty that it will be beautiful. This certainly does seem to be a great fascination in the novel; it is a component and often a catalyst for that anxiety which runs throughout.It is this anxiety which causes the heightening of our emotions; our emotions are heightened as we watch the characters' pursuit of the mysterious; and our curiosity is excited more and more until we are nearly begging for its gratification. But Radcliffe heightens our emotions without satisfying our curiosity, or at least not enough. For example, the very first chapter establishes a sense of mystery about the assassin in the Church. The Englishman inquires as much for himself as for us about the assassin. His concern and state of shock invoke our own inquiry into this odd circumstance and then his Italian friend tells him a mystery without actually telling him anything:"'He [the assassin] sought sanctuary here', replied the friar; 'within these walls he may not be hurt'"(2).He makes it clear that there is a story here but that it is long and suspenseful, maybe shocking:"'It is much too long to be related now; that would occupy a week; I have it in writing, and will send you the volume'" (3).What it is exactly, or what the tale is going to be is only hinted at in a very curiosity invoking way: as if it is a secret.Instead of the Englishman and his Italian friend going down to the street cafà © and relating the story, the Italian friend says that he will send him something written the following day and t... ...ld be suspect and it was. Her susceptible nature often led her into the suspicion out of which the novel's Gothic tone is constructed; just like Vivaldi's and Paolo's susceptible natures lead them to jump to most horrifying conclusions earlier in the novel.When talking about perceptions, it is impossible to omit the distinction between the real and unreal in "The Italian". The strand of reality, interwoven with fantasy, seems to be a driving force in the plot. In the episode involving Ellena, her suspicions are confirmed; her fantasy becomes confirmed as reality as her fears about Spalatro's intentions are confirmed (although not until the end). Of notice is also Vivaldi's constant desire to solidify his fantasy (getting married) with Ellena; as if the real thing will finally restrict the fearful possibilities into a single reality. Yet it is this reality from which Vivaldi derives his fearful fantasies. It is this drama between what is real and unreal that gives the novel its impetus. For example, when Marchesa is speaking to Schedoni, they are both thinking of murder, but both refuse to 'say' it, as if doing so would make it more 'real' than merely thinking about it.