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Monika Mezyk

In Ann Radcliffes 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

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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.

Vivaldis 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().

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 ().

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 cafand relating the story, the Italian friend says that he will

send him something written the following day and then the passage stops. We

are tempted, as is the Englishman, by these curious circumstances and yet

nothing is revealed to us other that the implication that soon all will be

revealed (after a couple hundred pages). What Radcliffe does is that she

creates our sensation of terror; she suspends our disbelief that much

longer, building our curiosity and our need to know to a brilliant height

and then-nothing the story takes a different turn and gratification is

postponed while our expectation and anticipation is increased.

This happens in the very beginning passage in which Radcliffe

starts The Italian by providing just enough information to suck us into

her tale and, then, just as we expect pay off, she postpones it a little

further while providing just enough information to keep us intrigued. And,

before we know it, we, the reader, are entangled in her Gothic quicksand and

greedily reading in search of the secrets she buries before our eyes. When

Vivaldi rushes into the Villa after the mysterious cloaked figure that has

escaped him, he emerges pale we know something has happened and await his

tale but he tells us nothing, he refuses to say anything and, thus, we are

left suspended in the wake of mystery. Another example when we are suspended

in the wake of mystery occurs when Vivaldi and Paolo are in the dungeon

imagining the garments lying on the floor to be moving. We do not find out

whether or not these garments belong to someone murdered until the end of

the novel; so this incident leaves us in a state of suspense

It moves! exclaimed Paolo; I see it move! as he said which, he started

to the opposite side of the chamber. Vivaldi stepped a few paces back, and

as quickly returned; when, determined to know the event at once, he raised

the point of his sword, and perceived, beneath, other remains of dress,

heaped high together, while even the floor below was stained with gore (77).

This leads me to speak of imagination, which is such a huge part in

telling the story. There is such an enormous emphasis on perceptions, belief

and feelings. It seems that everything that happens is filtered through the

lens of one of the various characters. There is a constant projection of

their thoughts into what is happening

As they passed, Paolo observed, that the walls were stained with what

appeared to be blood… (74).

It did not necessarily have to be blood, but we see it through Paolos

perceptions, which leads us to the most sordid conclusion. Immediately after

this, they see a figure standing in the shadows which disappears by the time

they arrive; Vivaldi and Paolo conclude that it must have been an evil

spirit to haunt them.

Although it can be argued that is the sense of the impending danger

that gives the book its impetus, it is more probable that it is the

perception of the impending danger, of the gruesome, of the revealing that

which is dark, which is the impetus. That is a significant difference. By

doing this, Radcliffe wants to make sure that we are in sync with the

characters thought by thought and breath by breath. A cloudy sky cannot just

be shown as a cloudy sky, which would seem depressing to some or not

important to others; it has to take the perception and imagination of

Vivaldi to make it foreboding. It is also significant that Radcliffe

purposefully constructs characters of a susceptible nature, characters that

are easily swayed by appearances and not facts.

By creating the character of Vivaldi, it seems that Radcliffe has

created a character that is more susceptible than the average person to the

sublime and the gothic. He calls the strange monk super-human on

numerous occasions, overly excited to prove himself correct. The narrator

even says as much, hinting that after all the trouble Vivaldi put himself

through to discover the identity of the monk, a simple, rational explanation

would be disappointing. It seems as if Vivaldi is searching for trouble, in

a sense, and he does not shy away from dangers. It also seems that he enjoys

the clandestine nightly excursions to the arch where the strange monk

appears.

To Ellena, just like to Vivaldi, a simple rational explanation

would also be disappointing. In volume , when Ellena is taken to Spalatro

and locked in her room overnight, she begins to suspect an attempt on her

life. In the darkness, she imagines moving shadows and creaking floors, yet

she is unable to confirm her fears. Instead of using her common sense by

thinking that if they really wanted to her dead, they would have killed her

before she reached the cabin, she prefers the non-rational explanation of

Spalatro trying to assassinate her. Like to Vivaldi, to Ellena just a

rational explanation would be disappointing and, to us, the audience, such a

rational explanation would decrease our sensation of terror instead of

increasing it, which would, in turn, be disappointing to our expectations.

Ellenas fears certainly do not seem to be based on evidence. Even

when Spalatro brought her the meal, I was not sure if Ellenas fears were

justified. It seemed that Ellena was looking for someone to assassinate her,

so anything she saw would be a part of that conspiracy; everything Spalatro

did would be suspect and it was. Her susceptible nature often led her into

the suspicion out of which the novels Gothic tone is constructed; just like

Vivaldis and Paolos 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 Spalatros intentions are

confirmed (although not until the end). Of notice is also Vivaldis 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.

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