In this 1799 chapbook set in England during the Middle Ages, a conflict over religion between a priest and a baron, and an enchanted suit of armor result in betrayal, exile, and magic.
Kilverstone Castle, or, The Heir Restored: A Gothic Story is the second of twelve stories, bound together in the same volume. The name of the author does not appear on any of the story’s thirty-three pages.
The cover is stained, and has completely detached from the book pages, but the binding on the side is still intact. The pages are very fragile, and the cover has detached. The book is bound with leather, and has an endband made of red thread at the top and bottom for decorative purposes.
The book’s paper is very brittle and has yellow stains covering it. The binding along the side of the book has the word “tracts” carved into it. A “tract” signifies a chapter or short story, which suggests that someone specifically chose to bind these stories together, either due to similar themes or simply to have them all in one place. The word “Prethy” is also written in elaborate cursive on the opening page, which suggests a previous owner signed their copy.
There are illustrations on the title and final page of the book, with the one on the title page depicting two men dueling in front of a woman fainting, and the one on the final page depicting a tree. The title page also contains the name of the book’s printer and publisher.
One of the most unique characteristics of this volume, however, is the typeface. The margins and type are both very small. Within the text, the letter “s” appears frequently shaped like a letter “f” (this was known as a long S or medial S), except in words that have two “s” in a row, in which case only the first “s” is a long S while the second “s” is the round s that has since become standard.
According to the WorldCat database, there are ten different editions of Kilverstone Castle. The editions slightly vary in title, with most including the phrase Kilverstone Castle, or, the Heir Restored, a Gothic Story and some also including Founded on a Fact which happened at the dawn of the Reformation.
WorldCat lists all of these editions as having been published in 1799, except for one which is listed as having been published in 1800. The edition of the text in the University of Virginia Special Collections library does not have a publishing date inscribed on it, and the call number lists publication as 1802. However, in his Gothic Bibliography, Montague Summers claims that the text was published in 1799. Franz Potter’s Gothic Chapbooks, Bluebooks, and Shilling Shockers, 1797–1830 gives the same year (21). An edition of the text on Google Books has “1799” printed on the title page.
While the text has no known author, Kilverstone Castle was published by Ann Lemoine. Lemoine was a prolific publisher of gothic texts, and Potter states that Kilverstone Castle was the first work she published, a collaboration with Thomas Hurst. He goes on to note, “Lemoine effectively dominated the chapbook market by publishing at least 99 Gothic chapbooks over thirteen years, 28 percent of the whole number” (Gothic Chapbooks 21). Potter also says that Kilverstone Castle “capitalised on the widespread success of The Castle of Lindenberg and the continued interest in Walpole’s The Castle of Otranto” (Gothic Chapbooks 47). In The History of Gothic Publishing, Potter notes that Kilverstone Castle was one of the Gothic bluebooks available at William Booth’s Circulating Library in Norwich (70). Though no advertisements for the text have been found in newspapers from the nineteenth century, this suggests that it was not in total obscurity either.
Narrative Point of View
Kilverstone Castle uses a third-person omniscient narrator, who knows the inner thoughts of all the characters. The narrator provides a lot of description of the setting and the material objects the characters interact with. However, the narrator does not explain all characters’ thoughts and motivations. The narrator uses long sentences, and refers to aristocratic characters by their title more often than their actual name, with the exception of Mervil.
He prefaced it with the most solemn asseverations of truth, respect, and esteem for his patron. “My regard for you, my lord, makes me jealous of every injury done to your honor; and it becomes a duty in me to apprise you of every danger which besets you. Be not shocked, my friend, by a discovery in which your happiness is in imminent peril. Your Jessalind is inconstant!” (12)
The omniscient narrator not revealing each character’s motivation adds to the mystery of the story. If the narrator of this passage had been able to state that Polydore was lying about Jessalind committing adultery, significant tension during the scene in the bathhouse would have been lost. Polydore in this passage also puts more emphasis on Mervil’s title than the narration usually does, suggesting that they are not really friends. In other passages throughout the story, when the narrator describes objects in great detail, such as the onyx cross, this is done to humanize the objects and give them a role in the story.
Kilverstone Castle begins by telling the reader about Lord Audley, Baron of Kilverstone in Lincolnshire. He is a virtuous man who is getting older, but he has a son, Mervil, who will be a great successor. Audley lives before the Reformation but holds ideas contrary to those of the Church. This brings him into conflict with Father Peter, who is the Abbot of Croyland and runs the monastery in the village. Peter has many opportunities to take revenge on Audley, due to the supreme influence of the Church at the time. Father Peter goes to Lord Wentworth, in a place where Audley holds lands, with a forged order from the Monastery of St. Crowle to prosecute a claim on the estates.
Audley soon dies, and his son is called away from his travels at the news of his father’s death. The trial about his father’s lands is still happening at the King’s court, and he walks around his mansion considering it. He soon hears his ancestor’s armor rumble, and, when he walks over to it, sees a light from inside. He finds a small onyx cross and puts it on; the cross then starts to bleed, and the armor shakes.
Father Peter shows up, planning to assassinate Mervil. Peter pretends to mourn Audley, and Mervil believes him. Soon the amulet starts to bleed again. Peter is shocked, and briefly feels guilt for attempting to kill Mervil, but it soon fades. As Peter turns to leave, the dagger which he planned to kill Mervil with falls onto the floor. Mervil is shocked, and realizes the amulet was warning him about Peter’s treachery.
It is revealed that Wentworth has led a wild life, and that the churchmen manipulated him. He has made large donations to the monastery. He had gifted Father Peter’s monastery with Audley’s lands. Even with Audley dead, Peter still wants his lands. Since Mervil is so young, and Peter’s whole claim is based in forgery, Peter wants to kill Mervil before he has an heir who could challenge Peter for the Audley lands.
One day, while out hunting, Mervil meets a strange hermit. The hermit says he knows Mervil, and warns him that bad things await him.
Mervil eventually gets married to a local nobleman’s daughter, Jessalind. One day, however, his friend Polydore tells him she is being unfaithful with his friend, Ironside. Polydore tells Mervil to catch Jessalind and Ironside at the bath. Mervil goes there, and though he does not want to doubt his wife, he trusts his friend and the amulet had predicted disaster. He sees Jessalind and Ironside meet, and in a rage stabs Ironside. However, Ironside tells him that nothing was going on and that his and Jessalind’s meeting was accidental.
Mervil realizes that Polydore has lied to him, and that this was instigated by the church. As a murderer, Mervil’s lands are given to Wentworth. Mervil also reveals that Jessalind is pregnant. He decides to run into the woods and live as an unknown. Jessalind wakes up after fainting, sees Ironside dying, and calls out for her husband who has run away.
Some peasants carry Ironside to a shepherd, who says it is possible his wound is not fatal. Soon Wentworth’s officers show up at Audley’s estate after hearing what happened, and force Jessalind out. On the same night, a horrible storm is happening, and Wentworth’s officers flee the Audley castle because they think the storm was caused by evil spirits.
Jessalind befriends a shepherd who knew old Lord Audley. She is able to sell some jewels and go home to Normandy, but her father has left for a war.
The monks celebrate Mervil’s downfall, but Father Peter does not want to risk going near the enchanted armor again. Polydore, who was working for Father Peter, is now stuck with him while Peter shuts himself up in his cell.
Mervil eventually meets an old man at a shepherd’s house. He tells him everything, and the old man tells him that sometimes good things can come from bad. Eventually, Mervil tells the shepherd he is going to leave and find a place to retire and do penance. The shepherd tells him that the Hermitage of Norban is close to them, and Mervil seems to recognize the name and panics. The shepherd tells Mervil to stay the night, and his son will walk the six-hour journey with Mervil in the morning. Mervil then asks the shepherd to tell him the story of the hermit.
The hermit was from Normandy and was a member of Croyland Abbey. He did not leave the world entirely, but was famous for his ability to heal, to prophesize, and for his wisdom. He went into the mountains because he was upset at the sins of others in Croyland. Towards the end of his life, he gets a visitor, and on his deathbed, tells the herdsmen that it is his brother, and his coming means the hermit will die. He leaves a crucifix and says his heir will wear it in the seventh generation, and he will be the guardian of his friends for seven ages to come.
The amulet on Mervil’s neck is glowing once the story finishes. In the morning, he goes looking for where the hermit lived. Mervil finds the hermit’s remains, and decides to stay until he can give the hermit last rites. Mervil stays for some months in the Hermitage, with the shepherd and his sons often visiting.
Mervil eventually becomes famous, and fears he will be discovered. One night, he has a vision of Ironside’s ghost, giving him information about Jessalind. One day, a man shows up, and he realizes it is Ironside. Ironside tells him everyone believes Mervil committed suicide, and that while searching for him, a storm took out Wenthorth. Wentworth’s son refused to give Audley’s lands to the monastery. Ironside then tells him how he was tricked by Polydore, and that Father Peter poisoned Polydore because he knew Peter’s secrets. He then tells him that Jessalind is with her father in Normandy.
Ironside then tells him that Geoffrey, Wentworth’s son, is in open rebellion against the crown. He says Jessalind’s father might come with them to ask about his daughter’s possessions. Mervil says he cannot go until he has fulfilled the hermit’s last request. They leave with the hermit’s urn, and Mervil places it in the vault of his ancestors.
Mervil and Ironside eventually join up with the royal army. Ironside is shot in the arm and forced to retreat during a battle, and Mervil follows to help him. The crucifix Mervil is wearing helps to save the king when he is surrounded by rebels. Ironside dies of his wounds after asking Mervil to look after his daughter.
Mervil reaches the monastery of Crowle, and finds it in ruins. It had been destroyed by royal mandate, and all its possessions confiscated. His own mansion is mostly destroyed, except for the gallery where he first got the amulet.
A wedding is going to take place in a few days. During the wedding, Mervil’s amulet catches the eye of the bride. The bride faints, and the dagger she was going to use to stop the marriage falls out of her hair. It is revealed that the bride is Jessalind. The strange youth, referred to as the Bloody Knight, is revealed to be their son. In the end, Leo, the Bloody Knight, marries Ironside’s daughter Elvira.
Kilverstone Castle. London. Printed for Ann Lemoine. 1799.
Potter, Franz J. Gothic Chapbooks, Bluebooks and Shilling Shockers, 1797–1830. University of Wales Press, 2021.
——. The History of Gothic Publishing, 1800–1835 : Exhuming the Trade. Palgrave Macmillan, 2005.
Summers, Montague. A Gothic Bibliography. The Fortune press, 1941.
The Fiery Castle, or, Sorcerer Vanquished: A Romance: Relating the Wonderful Adventures of a Female Knight, in Which Is Described Her Attack on Rudamore Castle, to Release a Lovely Maid, Detained There by a Sorcerer, and Glorious Victory Over the Guardian Demons of the Gate: With Her Achievements in the Temple of Illusion, in Which She Resists the Allurements of the Spirits, Releases Her Beloved Knight From the Dungeon of Torture, and Causes the Fatal End of the Sorcerer
This fantastical 1810 chapbook follows two knights through trial and tribulation as they attempt to rescue their loved ones from the grips of a lustful sorcerer, battling spirits and demons all the while dispelling enchanting illusions.
The Fiery Castle does not have a cover, but rather a nondescript worn page,
tinted yellow with scattered mysterious brown stains, separates the reader from
the book’s title. A flip into the string-bound chapbook reveals,
unsurprisingly, more brown stains. What is a surprise, though, is the
intricately drawn illustration that was hidden beneath the nondescript outer
page: with fine lines filled in with bright pink, yellow, orange, and blue
accenting the image, the illustration depicts a dame, accompanied by a knight
posed for combat against two black demons guarding a gate engulfed in flames.
Underneath, a simple caption reads: “See p. 7.” Clearly, this action-packed
scene occurs only five pages in—as the story begins on page two.
Across from this fascinating
illustration is an even more intriguing, albeit long, title: The Fiery
Castle, or, Sorcerer Vanquished: A Romance: Relating the Wonderful Adventures
of a Female Knight, in Which Is Described Her Attack on Rudamore Castle, to Release
a Lovely Maid, Detained There by a Sorcerer, and Glorious Victory Over the
Guardian Demons of the Gate: With Her Achievements in the Temple of Illusion,
in Which She Resists the Allurements of the Spirits, Releases Her Beloved
Knight From the Dungeon of Torture, and Causes the Fatal End of the Sorcerer—its
truncated title being, The Fiery Castle, or, Sorcerer Vanquished. With
varying fonts, text sizes, forms of capitalization, and embellishments
throughout, it is entirely likely that the publisher was actively trying to
capture and retain readers’ attention with this long title. There is no author
listed on the title page or anywhere in the chapbook.
The book itself, only twenty-eight
pages in length, was printed and published in London by a W. Mason and sold for
sixpence. Past the opening illustration, there is no decor in the rest of the
book aside from a single decorative border on the first page of the story, and
a small ink and quill depiction on the thirty-second page, informing the reader
that the novel is “Finis.” Flipping through the pages, the chapbook has all the
characteristics of a standard paperback: set margins, pagination, and an
easy-to-read font. There is but one outlier within this uniformly printed text
on page 22. A small, lowercase t in “the” seems to have fallen a step below its
fellow letters, resembling a subscript of sorts. Small printing quirks like
this are perplexing, but give the text a sense of craftsmanship.
The Fiery Castle measures roughly 0.3 cm thick, standing at 18.2 cm tall and
10.9 cm wide. The brittle yet cotton-like pages are held together by a single
strand of string, with the page reading “finis” almost finished itself, as it
hangs on for dear life. This book, littered with small folds, rips, blemishes,
and tinged with what can only be described as old age, shows all the signs of
having led a thrilling and entertaining life as a shilling shocker.
The Fiery Castle, or, A Sorcerer
Vanquished is one of many gothic novels in the
Sadleir-Black Collection. This edition was published in 1810, though there
appears to be at least one earlier version which is listed as the second
edition on WorldCat. This previous edition was published in 1802 by A. Young
located at 168, High Holborn, Bloomsbury. Although this version is indicated as
the second edition, there is no specific information on whether it is
distinctly separate from the first edition. One clear distinction that can be
asserted is that although the earlier edition was simply entitled: The Fiery
Castle, or, The Sorcerer Vanquished: An original romance, the 1810 edition
in the Sadleir-Black Collection has much more detail incorporated into the
title. Both chapbooks were sold for sixpence, or half a shilling, although they
were printed eight years apart.
While the novel’s original author is
unknown, The Fiery Castle (1810) was distributed by an experienced
publisher by the name of W. Mason. Mason’s primary operations were based at No.
21 Clerkenwell Green where he “published at least fifteen gothic pamphlets” and
he habitually “summarised the entire novel on the title page” (Potter 94). This
serves to explain the variance in the titles between the 1802 and 1810
At the time of publication, the
demand for gothic pamphlets was diminishing. and in its place, a “growing
marketplace for children’s toy books” emerged (Potter 98). W. Mason, however,
published The Fiery Castle presumably because gothic publications
remained well-received by readers to some extent. His decision to publish the
novel may be attributed to its plot, as it illustrates a hybrid between the
gothic and fairytale genres. Due to evolving public sentiment, The Fiery
Castle was written in a way that swapped out the “standard gothic villain,”
incorporating instead a sorcerer that is defeated by a heroine; this
demonstrates how “the gothic was absorbed into the growing market for
children’s stories” (Potter 98). Subsequently, the chapbook’s unconventional
plot may have been another motivating factor for W. Mason’s printing of The Fiery
Many of the chapbook’s physical
details, such as its decorative borders, margin size, font, and font size
appear standard across W. Mason’s publications. Another chapbook published by
Mason, entitled The Spirit of the Spirit, which has been scanned in its
entirety and uploaded digitally to HathiTrust, resembles The Fiery Castle
almost identically. Both texts’ layouts include a single illustration on the
page next to the title, with each title page utilizing the same fonts and
borders atop of the first page of the story.
W. Mason’s 1810 printing of The
Fiery Castle appears to be the last and latest edition of the novel, with
no further editions published. The novel does not have any modern editions
available for purchase, nor are there any digital copies online. As a result,
there have been no modifications to the story since there are no new editions,
nor has the text been adapted to different mediums like film.
The Fiery Castle has very limited recognition in academic scholarship, with
Franz Potter’s mention being the only noteworthy mention of the novel. This may
be attributed to what Potter describes in Gothic Chapbooks, Bluebooks and
Shilling Shockers as the slow yet steady shift away from gothic literature
at the time that the book was distributed. Consequently, there is limited
additional information to be discovered regarding The Fiery Castle’s
Point of View
The Fiery Castle is narrated in third-person omniscient perspective, as the
narrator provides the context for each individual character, their thoughts, as
well as details on the events that are unfolding. Seamlessly switching from one
scene to the next, the narrator concisely illustrates both the emotions and
actions that encompass each character. The narration discloses details for a
wide array of characters, ranging from the most prominent of knights to the
most minute of spirits. While the narrator does not make any outright personal
interjections regarding the crimes that unfold in the plot, there is a notable
use of adjectives within the narration that appear to appraise the characters’
The fairy appeared, and, waving her invisible wand, extinguished the torch. The altar shook to its base, and Hymen and his attendant Cupids fled in dismay; the spirit found his power subdued, and his arts fettered. All presence of mind fled, in proportion as his fears arose, of meeting with the torments with which Rudamore was prepared to afflict him, for failing in his enterprise. The female knight saw, in a mirror which the fairy held to her view, the reflection of her girdle, which displayed again, in luminous letters, its sentence of “Be virtuous and conquer!” (26)
The narration clearly dissects each
aspect of the scene, including each character or group of characters—the fairy,
Hymen and the Cupids, the spirit, the female knight—within it and their
subsequent actions. This creates a plot that is transparent, as the catalyst of
the chain of events. In this case, the narrator is correlating the chaos that
ensues to the initial arrival of the fairy and her “waving her invisible wand,”
which in turn, impedes the efforts of Rudamore’s minions. Furthermore, the
narrator recounts the emotions of the characters, thus providing context for
their specific behaviors. By thoughtfully combining emotion and action in
narration, the characters’ own portrayals are made more robust. This is
illustrated in small points throughout the narration, such as the discussion of
the spirit’s motivations for misleading the female knight. The spirit’s drive
to deception is evidently grounded in his fear of “meeting with the torments
with which Rudamore was prepared to afflict him,” which the narrator makes
known by providing context. This thorough narration allows the reader to gain
further insight into key elements of the plot, while also providing explanation
for specific character choices.
The Fiery Castle opens with the protagonist, known only as the female
knight, seeing a young man in an enchanted mirror whom she falls in love with
at first sight. Her father is a powerful sorcerer and her mother, a fairy.
Receiving their permission, bestowed a set of weapons and armour engraved with
the message: “Be Virtuous and Conquer,” and endowed with courage, she sets out
on her journey (3). In the midst of her travels, she comes across a heartbroken
knight in the forest. He informs her that his beloved Dellaret has been
kidnapped by an evil sorcerer, Rudamore. The female knight offers her services,
thus the two set out on a journey to Rudamore’s castle.
Upon their arrival, the two knights
are faced with two demons that are guarding the gate. Raising their swords, the
gate is engulfed in flames to prevent their passage, and the heartbroken knight
once again feels despondent. The female knight’s mother comes to their aid,
declaring that “with this touch of my wand, your armour becomes adamant, and
your arms are changed to gold” (6). As a result, the knights successfully
defeat the demons and traverse through the flames. Hearing the commotion,
Rudamore opens the gate to investigate, the two knights storm past him, and
Rudamore flees further into the castle.
While the knights make their way
through the castle, Rudamore summons spirits and orders them to distract the
two trespassers. He intends to capture the two knights by conjuring his “Temple
of Love and Illusion,” which will entrap their senses and distract them from
fulfilling their quest (8). This illusion appeals to all five senses and the
spirits take on tantalizing human forms meant to distract them.
The knights find their way down to
the dungeons of the castle, observing and speaking to other imprisoned knights
that are also grieving the loss of their mistresses to Rudamore’s rapine. After
venturing through these cells, the knights arrive in a chamber filled with
pillaged weapons and the robes of the women whom Rudamore has conquered on
display. As this exploration unfolds, the knights are unknowingly walking
towards the illusion and are greeted by the impressive, yet hallucinatory
Temple of Love. Each is guided by enchanting servants to their own elevated
throne of marble while a procession of servants deliver glasses of wine to
them. Just as they are about to drink the liquid, the fairy interferes with the
procession, causing the servant to spill the goblet and preventing her daughter
from consuming this laced liquor. As the liquor spills onto the ground, a hemlock
grows in its place. Realizing the foul properties of the wine, the two knights
attempt to escape the temple. To prevent this from happening, two spirits
assume the facades of each knights’ respective lovers, tempting the knights
back into the grips of the illusion.
As the knight believes he is reunited with Dellaret, he worries that her being in the temple means she has sacrificed her virginity to Rudamore. Reassuring the knight of her chastity, the imposter delves into an elaborate tale explaining that she withstood both illusion and torture, attributing this mental fortitude to “my incessant thoughts of you, and the unshaken resolution to be ever faithful to my part of the mutual vows we have made to each other” (16). Hearing this, the knight laments that he does not have the skills necessary to rescue her from the clutches of Rudamore. Pretending that heaven has suddenly bestowed her with this idea, the imposter suggests that the pair can effectually escape so long as they marry each other “at the altar of Hymen,” because Rudamore is only tempted to keep maidens captive and their marriage would allow the knight and Dellaret to ensure she would no longer fulfill his desire for chastity (21). In reality, the spirit is carrying out Rudamore’s plans to trick the knight into marrying the imposter, as Rudamore brings the true Dellaret to witness the knight’s subsequent infidelity all in the hopes of swaying her resolve.
Rudamore forces Dellaret to watch
her beloved knight marry a woman, who from her perspective resembles an old
hag, and insists that he has been endeavoring this entire time to enlighten her
about the knight’s true character as well as the superficiality of his
proclaimed love for her. Justifying the torture he has been subjecting her to,
Rudamore claims this was all done out of love. After this, he offers to make
Dellaret his wife and empress, while Dellaret, both heart-broken and cornered,
asks for a day to consider his offer.
In the meantime, the knight and the
imposter consummate their illusory marriage while the female knight is also on
the verge of marrying her own imposter at the altar of Hymen. Yet again, her
mother interferes. Extinguishing the torch at the altar, the spirit loses his
powers and flees, allowing the fairy to explain to her daughter that she was
almost seduced by a wind spirit. Shocked by the revelation, the female knight
rests at a canopy. While the female knight is sleeping, Rudamore has been
consulting his book of destiny which informs him that his inevitable demise is
approaching. Desperate for self-preservation, Rudamore also reads in the book
that the female knight’s true love had embarked on a similar quest in search of
her, and that he nears the castle. Planning to use this knight as a bargaining
chip for his life, Rudamore kidnaps the man and imprisons him in the dungeon.
This wrongdoing is manifested in the female knight’s dream, and as a result,
she awakens and rushes to rescue him.
Dellaret, wandering around
contemplating her uncertain fate and exhausted from the day’s events, collapses
by chance into her knight’s arms while he is asleep. When the two wake up, the
knight is immensely confused by Dellaret’s irate reaction at her current
circumstances. Still believing the two are happily united, Dellaret unleashes
the truth exclaiming to him, “As you have deserted me, for such an ugly and
disgustful wretch, I will abandon you” (29). She flees to Rudamore, demanding
that he imprison the knight in exchange for the right to take her virginity.
This request is immediately granted, the knight is captured and subjected to
torture by Rudamore’s spirit, while the sorcerer forces himself upon Dellaret.
The female knight discovers Rudamore
just as he is taking advantage of Dellaret. As she is about to land a fatal
blow on the evil sorcerer, Dellaret pleads to the female knight that she end
her life first. Rudamore interrupts their discourse to plead for mercy,
offering to show the female knight where her lover and her companion are being
held captive. The three go to the dungeons and are brought face to face with
the two captured knights. The female knight attempts to slay Rudamore for his
crimes, however the fairy disrupts her daughter’s attempt. The fairy informs
her daughter that this is not adequate justice unless Rudamore first confesses
his devious schemes. Furthermore, it is made known that the two men cannot be
released from their bindings without Rudamore’s spells. The sorcerer feigns
repentance and releases the men while confessing his role in the manipulation of
the knight and Dellaret. Realizing Rudamore’s evil interference, Dellaret and
her knight immediately restore their love and faith in each other. As the
couples are reunited, Rudamore takes this as an opening to flee to his
chambers. To ensure Rudamore properly receives justice, the fairy leads her
daughter to him. The female knight slays Rudamore and the companions proceed to
live peacefully in the castle, which the fairy has restored to a glorious
In this 1800s chapbook by Sarah Wilkinson set in the South of France, follow Emma de Villeroy as she navigates her mysterious marriage, and the truth about her bloodline.
The White Cottage of the Valley is one chapbook bound in a collection of eighteen stories. The story itself is short, only twenty-one pages as compared to the over thirty-page length of the other stories in the book, but the text is quite dense. The text is small and close-set, and the margins between each line are thin. The book measures approximately 11cm x 18cm, allowing this chapbook to hold a lot of content. The margins of the pages vary, ranging from 0.8 cm to 1.6cm. The pages are quite thin, allowing you to see the text on the other side. Each page has the shortened title of the book, The White Cottage, printed across the top. This is uniform to every story in the book, making it easy to differentiate the separate works.
Before you begin reading the story, you are greeted with a frontispiece. The frontispiece, an illustration preceding the title page, is completely unique. Although the black outline is printed, the colors are hand painted with watercolors. You can see white space that the artist did not quite cover with color, as well as places where the colors overlap. The illustration depicts a woman clothed in red and white approaching the door of a hut where a woman and child wait. Below the illustration is a quote that relates to the part of the story the image is depicting: “Merciful Providence! Your Husband ill, & lying in that Hut.” Uniquely, the word “page” stands alone just below the quote, likely intended to list the page number where you could find this quote. However, there is no page number, and in fact this illustration does not relate at all to The White Cottage of the Valley, or to any story within this collection of chapbooks. It is possible that this was a misprint, or perhaps the story that relates to this illustration was removed from this book. The White Cottage of the Valley also does not contain page numbers, though it does include signature marks, which were used to guide bookbinders and make sure the pages were folded correctly and in the correct order. A2, B, C, and C2 appear on the first, seventh, eleventh, and thirteenth pages respectively.
The title page follows the frontispiece on the next page. The full title, The White Cottage of the Valley; or the Mysterious Husband: an Original, Interesting Romance,is printed vertically down the page, followed by the name of the author, Sarah Wilkinson. An excerpt from a poem is quoted just below, and below that the printer is listed. Finally, the price, sixpence, is printed at the very bottom of the page. The title page bleeds through almost completely to the other side of the paper, which is otherwise completely blank.
The cover of the chapbook collection follows a very popular binding technique of the time called half binding. The spine and two triangles on the corners of the front and back cover are brown leather, while the main cover is paper. The paper cover is decorated with another popular technique: marbling. This is a process in which different colors of oil paint are added to a tub of water, which the paper for the cover is then dipped in. The water forces the oil to spread, giving it a “marbled” look. The cover of this book is mostly beige, with marbling of dark blue. It is worse for wear, though, with quite a bit of the front worn off. The spine is also quite worn, with cracks appearing in the leather and tearing slightly at the top. Luckily, the book is in mostly good condition, with no large tears or extremely stained pages.
Sarah Wilkinson was a gothic writer active between 1799 and 1824. In that time, she penned approximately one-hundred short stories, including about thirty gothic works. The White Cottage of the Valley; or the Mysterious Husband is one of her lesser-known works. Unlike her more popular stories, which have well-documented and sometimes controversial histories, The White Cottage has very little written about it. This is likely due to the pure quantity of gothic chapbooks that Wilkinson penned, meaning only the most popular of them have been attended to by historians and literary scholars. The White Cottage has, however, been republished in the second volume of Gary Kelly’s 2002 Varieties of Female Gothic. This volume, titled Street Gothic, includes a number of gothic texts by female writers that Kelly suggests depict the change in the writing of the lower class. In the introduction to this volume, Kelly describes The White Cottage as “represent[ing] the revolution in cheap print of the late eighteenth and early nineteenth century that saw the creation of a commercialised novelty literature for the lower-class and lower middle-class readers” (xxiii). This is one of the only modern works that analyzes The White Cottage, rather than simply listing it as one of Wilkinson’s texts.
As often as Wilkinson is described as prolific, she is also described as a “hack” writer (Kelly xxi, Hoeveler 3). This is due to the fact that Wilkinson was on the cusp of poverty, writing “at the lowest end of the literary market” (Kelly xxi). Indeed, she wrote so much because she had to in order to make a living, not necessarily out of love for the craft. In 1803, she wrote to Tell-Tale Magazine, issuing a “warning [to] every indigent woman, who is troubled with the itch of scribbling, to beware of [her] unhappy fate.” (“The Life of an Authoress, Written by Herself” 28) Obviously Wilkinson had the desire to write, self-described as an “itch of scribbling,” but it was not an easy way to make a living.
Interestingly, the publisher of The White Cottage is also somewhat well-known. In 1810, Robert Harrild invented a new tool for inking typeface, called a composition roller. This was a much more efficient method than the previously used balls of hide (Anderson & McConnell). Conversely, the illustrator for the frontispiece for The White Cottage is completely unlisted and unknown. The White Cottage of the Valley originally included a frontispiece (printed in Kelly’s Varieties of Female Gothic) but this frontispiece is not present in the University of Virginia version, which may be due to Wilkinson’s lack of resources, or it is possible that there was a misprinting or a confusion when rebinding and a different frontispiece was accidentally placed there instead. All versions of the chapbook, however, have the title-page epigraph from Thomas Fitzgerald’s eighteenth-century poem “Bedlam.”
There was at least one printing of The White Cottage in the early nineteenth century, but the publication date is not precisely known because the work itself has no date listed. WorldCat and Google Books list the date as 1815, although this is likely inaccurate because the title page of The White Cottage lists Robert Harrild as residing at 20 Great Eastcheap in London at the time of printing, a location he did not move to until 1819. He moved once again in 1824, suggesting The White Cottage was likely published sometime between 1819 and 1824, not 1815 (Anderson & McConnell).
While it has never been officially said that Wilkinson pulled content from Elizabeth Meeke’s The Mysterious Husband: A Novel, there are a few obvious overlaps between the two stories. Most notably, the works share a partial title, a character named the Earl of Clarencourt (spelled Clarancourt in Meeke’s story), a theme of marrying for money rather than love, and a main character who leaves for France for the sake of his mental health. Since Meeke’s novel was published early in 1801, it is possible that Wilkinson read Meeke’s novel and incorporated ideas from it into her own chapbook. This would not be the first time Wilkinson took inspiration from another story, either: her 1820 novel, Castle of Lindenberg; or, The History of Raymond and Agnes, is heavily derived from Matthew Lewis’s popular story The Monk. This was not all that unusual at the time: Father Innocent, Abbot of the Capuchins; or, The Crimes of Cloisters (1805) and The Castle of Lindenberg; or The History of Raymond and Agnes (1798) were also borderline plagiarisms of the same popular work.
Narrative Point of View
The White Cottage of the Valley is narrated by an unnamed narrator who is never a character in the story. They narrate entirely in third person and past tense, except at the beginning of extended backstory when they momentarily switch to present tense and use “we” to refer to the narration. The narrator often acts as an omniscient storyteller, relating how the characters feel and react to each other. Through the narrator, we are given insight into the characters’ thoughts and feelings. The language the narrator uses is formal and antiquated.
She instantly summoned Alise and Anetta to her presence, that she might fully apprize them of the part they had to act before the stranger could converse them, and thus frustrate her intentions.
While she is conversing with her faithful domestics, we will look back a little to the events that preceded—the distress of mind into which the amiable Emma was now plunged.
Emma de Villeroy was a native of the southern part of France; she was the only child of a very respectable medical man, a descendant of a noble family. (4)
This method of omniscient storytelling allows readers access to what the characters are thinking, enabling readers to experience events more intimately with the characters. The narration also heightens the effect of the plot unfolding in real time by suggesting that Emma’s backstory can be provided during the period of time when “she is conversing with her faithful domestics” as if Emma is talking to her servants at the exact same moment that the narration is relaying her backstory. As a result, Emma, the third-person narration, and the readers are all waiting for the rest of Emma’s story to unfold in this moment.
The White Cottage of the Valley opens with its main character Emma crying because her husband has not come home. She eventually falls into a fitful sleep until late in the night, when the gate bell rings. Emma, convinced it is her husband, quickly answers it. It is not her husband, however, but a stranger asking for shelter out of the rain. Despite her reluctance, Emma allows him in and sets him up with a bed. The next morning, when she goes down to breakfast with her children, the stranger asks which of the two is hers. Emma, alarmed by this question, lies and says only Rosalthe is hers and that Adolphus is the child of her servant, Alise.
Here, the narrator backs up to talk a bit about Emma’s backstory. Emma de Villeroy is the daughter of a woman who married against the will of her parents. Emma’s grandparents were so against the marriage that her parents left and never contacted them again. The years passed, and eventually both of Emma’s parents died. On his deathbed, her father bid Emma to seek out her wealthy, noble grandparents because otherwise she would be left destitute. Unfortunately, he died before he could give any information about her grandparents, leaving Emma with no way to contact either of them. In cleaning out her parents’ house, Emma subsequently found a miniature of her mother and began to wear it on a necklace under her clothes.
One day, Emma met a young man named Adolphus Montreville who had taken a liking to her late father’s library so much that he wanted to purchase the books. When the two of them met, there was an immediate spark. Adolphus was very kind to Emma in a way that betrayed his emotions, but he never made any formal declarations of his passion. Eventually, Adolphus explained that his father, a greedy Earl, wants to marry him off to an heiress for the money. Adolphus expressed that while he has feelings for Emma, he cannot marry her publicly due to his father. Therefore, he suggested a private marriage. Emma accepted his proposal, without mentioning her wealthy grandparents. The next week, the pair were married. Almost immediately, however, Adolphus Montreville was called back to England. He promised to return as soon as possible, leaving a pregnant Emma with one of her parents’ servants, Alise.
Eventually, Emma had twins, Rosalthe and Adolphus, and travelled to Paris to meet her husband, still concealing their marriage. There, the pair attended an opera and Emma noticed a wealthy couple who she immediately believed to be her grandparents due to their resemblance to her late mother. She did not mention her suspicions to her husband, however, and eventually left France for Wales without any conclusion of this matter.
Two months after settling in a white cottage in the valley in Wales, Adolphus visited and he expressed to Emma his fears that their marriage had been discovered. The following night, he promises that he will be more explicit when he returns. However, after this visit, he does not come back.
This is where the beginning of the story picks up again. That night, the second one the stranger stays in the cottage, Emma and Rosalthe are kidnapped by Adolphus Montreville’s father, the Earl of Clarencourt. The earl accuses Emma of deceiving him by denying Adolphus as her son. He informs Emma that her husband is also his prisoner and gives Emma a paper urging her to sign it. The paper proposes this agreement: the earl intends to fake his son’s death so that his younger brother, Edward, can marry the heiress. Emma and her family will be banished, but Emma’s son, Adolphus, will be raised by the earl. If Emma and Adolphus Montreville do not sign this paper, they will forever be confined to Milbury castle as they are now.
Emma refuses to sign, making the earl angry and scaring Rosalthe in her arms. As Rosalthe clings to her, she pulls out the necklace Emma wears. The earl immediately recognizes it as a miniature of the daughter of the Marquis De Aubigne. When Emma tells him it was her mother’s, he realizes his mistake. He apologizes to Emma, and she and her husband are freed. Emma goes on to meet her grandparents, who accept her eagerly and apologize for their poor treatment of her mother. Emma inherits all of her grandparents’ wealth, and her family lives happily for the rest of their lives.
Kelly, Gary. “Introduction.” Varieties of Female Gothic, Volume 2: Street Gothic. Taylor & Francis, 2002, pp. vii–xxiii.
“The Life of an Authoress, Written by Herself,” Tale 57 in Tell-Tale Magazine (London: Ann Lemoine, 1803), p. 28 in The History of Gothic Publishing, 1800–1835: Exhuming the Trade, by Franz Potter. Palgrave Macmillan, 2005.
Wilkinson, Sarah Scudgell. The White Cottage of the Valley: Or the Mysterious Husband: An Original, Interesting Romance. Printed and Published by R. Harrild, n.d.
Set in Scotland, England, and Italy, Sarah Scudgell Wilkinson’s 1807 chapbook is a complicated tale of vengeance, violence, and long-lost love. And there’s a ghost!
At first glance, The Castle Spectre; or, Family Horrors: A Gothic Story is nothing more than a small, nondescript book. It is bound in a spotless cardboard cover, with no title or images on the front or back. The spine has a small red rectangle in which The Castle Spectre or Family Horrors is written in gold writing. The chapbook is about 12 centimeters wide, 20 centimeters long, and 1 centimeter thick.
Upon opening the book, it is evident that it has been rebound. The pages inside are soft, yellowed, and worn. The edges are tattered and uneven and the pages are of different sizes. The frontispiece appears to have been glued to a blank page for structural support, as it was ripped and about two inches of the page is missing from the bottom. This page contains a colorful image of two knights in front of a red castle. They are holding blue shields with gold crosses and are wearing red skirts. Behind the knights is a woman in a pink dress; she is surrounded by what appears to be sunbeams and looks as if she is floating with her arm raised. Some of the colors go beyond the edge of the picture, indicating it may have been painted with watercolor. Beneath the image is a caption that says, “GERTRUDE rising from the Rubbish before the CASTLE”. Below the caption is a note about the print company.
The title page
contains the title, written as follows: “The // Castle Spectre; // or, //
Family Horrors: // A Gothic Story.” The words are all uppercase, except for “A
Gothic Story,” which is written in a more elaborate gothic typeface. Beneath
the title is a quote by Langhorne, and then a note on the publisher: “London:
// Printed for T. and R. Hughes, // 35, Ludgate-Street.” “London” is written in
the same gothic font, while the rest is again all capitalized. Beneath this is
the publishing date: 1807. The title page has a small, rather illegible phrase
written in pencil in the upper left corner, and a large stain on the right. The
back of the title page is blank, except for a small stamp in the bottom left
corner that says, “Printed by Bewick and Clarke, Aldergates-street.” It should
be noted that the name of the author is never mentioned.
On the first page of the text, the title is again printed, but this time as The Castle Spectre. The chapbook contains thirty-eight pages, and the page sizes vary slightly. The upper and lower margins range from about 1.5 centimeters to 2.5 centimeters. “Castle Spectre” is written on the top margin of every page, and there are page numbers in the upper corners. The text is small and tight, and the inner margin is very narrow. On the left pages, the words run almost into the spine. On some pages, the text is fading and in certain instances, can be seen through from the back of the page. The pages are speckled with light stains, but none that obscure much text. The bottom margins of a few pages contain signature marks, such as B3, C, and C3. These marks indicate how the pages should be folded together, as the book was printed on one large sheet and then folded and trimmed. This binding technique also explains why the pages vary in size. There are nine blank pages at the end of the book. These pages seem newer and are larger; they were likely added to make the book slightly thicker, as it is difficult to bind such a thin book.
An index card is
loosely placed in the front of the book, containing the title and publishing
information. It appears to be written in Michael Sadleir’s handwriting and was
likely used for cataloging purposes. The note indicates that the book was
originally unbound, but then mounted on modern board and engraved. This
explains the discrepancy between the wear of the cover and that of the pages.
“Louisiana” is written on the upper left corner; Sadleir presumably got the
book from someone who lived there. A line on the bottom of the card indicates his
belief that the plot was plagiarized, as he notes the book is “a theft of title
The Castle Spectre by Sarah Scudgell Wilkinson was
printed by Bewick and Clarke for T. and R. Hughes in 1807. According to Michael
Sadleir’s handwritten note, the copy in the University of Virginia
Sadleir-Black Collection was originally unbound and then rebound as a
stand-alone chapbook. It appears there is only one edition, the 1807 version,
but some other copies are bound in volumes with other chapbooks. According to
WorldCat, there are six copies of this edition located at Dartmouth Library,
Columbia University Library, and the National Library of Wales, among others.
As of 2021, there are no digital copies of the story, though GoogleBooks has
information about the title, author, and publishing company.
Castle Spectre; or, Family Horrors: A Gothic Story is often misinterpreted
as being inspired by Matthew Gregory Lewis’s play The Castle Spectre.
Though part of the title is the same, the actual plot, characters, and setting
are entirely unrelated. The
confusion has arisen because Wilkinson published two chapbooks with similar
titles: The Castle Spectre; or, Family Horrors: A Gothic Story in 1807 and
The Castle Spectre: An Ancient Baronial Romance; Founded on the Original
Drama of M. G. Lewis in
1820. This second text, The Castle Spectre: An Ancient Baronial Romance,
is in fact based upon Lewis’s play (as accurately suggested by the subtitle),
with the same characters, setting, and plot. By contrast, the 1807 chapbook, The
Castle Spectre; or, Family Horrors, remains separate and unrelated except
for its similar main title.
Though the two Castle Spectre texts by
Wilkinson are entirely separate, they are frequently confused for one another.
For instance, Franz J. Potter notes in The History of Gothic Publishing
that Wilkinson “also adapted two versions of Matthew Lewis’s melodrama ‘The
Castle Spectre’ publishing The Castle Spectre; or, Family Horrors (2.58)
in 1807 with Thomas Hughes, and The Castle Spectre; An Ancient Baronial
Romance, Founded on the Original Drama M. G. L. (2.57) in 1820 with John
Bailey” (119). In his section on the “Family Horrors” version of
Wilkinson’s chapbook, Frederick S. Frank notes that she “transformed Lewis’s Gothic drama, The
Castle Spectre [l-219], back into a Gothic novel” (171). Franz J. Potter
similarly states that this “Family Horrors” version was “founded on Lewis’s The
Castle Spectre. A Drama in Five Acts” (Gothic Chapbooks 39). Even an
article in UVA Today makes this common error, stating “Lewis’ work was
regularly plagiarized and used in this way, as it is in ‘The Castle Spectre,
or, Family Horrors: a Gothic Story,’ by Sarah Scudgell Wilkinson” (McNally).
that make the claim of a link between The Castle Spectre and Matthew
Lewis’s play cite Montague Summers’s Gothic Bibliography, which lists The
Castle Spectre by Sarah Wilkinson without specifying the subtitle or a
publication date. Summers’s entry reads: “Castle Spectre, The. By Sarah Wilkinson. Founded upon Matthew
Gregory Lewis’ famous drama, The Castle Spectre, produced at Drury Lane
on Thursday, December 14th, 1797” (268). Of the libraries that own The
Castle Spectre; or, Family Horrors, many list M. G. Lewis as an author, and
these library catalogs frequently reference Summers’s Gothic Bibliography,
echoing his statement that the story is “Founded
upon Matthew Gregory Lewis’ famous drama ‘The castle spectre’.” Some
libraries note the link to Lewis’s play based upon The National Union
Catalog Pre-1956 Imprints, and this source also cites back to Summers’s Gothic
Bibliography. It is possible Summers’s entry for The Castle Spectre
was misunderstood to be about the “Family Horrors” version, when it was meant
to reference the “Baronial Romance” version, which specifically claims to be
founded upon Lewis’s play. Whatever the reason, this misunderstanding has
spurred many sources, including library catalogs, to erroneously note a
connection between the plot of Lewis’s The Castle Spectre play and
Wilkinson’s The Castle Spectre; or, Family Horrors chapbook.
It should also be noted that some sources
discuss a similarity between the two distinct chapbooks Wilkinson wrote under
the titles The Castle Spectre. Diane L. Hoeveler, for instance, suggests
that Wilkinson was plagiarizing herself in these two chapbooks, indicating she
believes the plots to be “virtually identical and indicate how authors as well
as publishers had no qualms about ‘borrowing’ literary texts from others as
well as themselves” (14). Hoeveler writes, “Wilkinson’s The Castle Spectre:
An Ancient Baronial Romance is actually her second attempt to capitalize on
the popularity of Lewis’s 1797 drama The Castle Spectre”, naming as the
“other version” The Castle Spectre; or, Family Horrors: a Gothic Story
(14). Yet while it is true that Wilkinson used the same main title for two
different books, they are not “virtually identical”: the plots, characters’
names, and setting of the story have no similarities. A potential reason for
the similar titles was that Wilkinson used the phrase “Castle Spectre” precisely
because of its popularity at the time to attract readers, despite the “Family
Horrors” version being a unique story.
On a separate note, the title page of The Castle Spectre; or, Family
Horrors includes a portion of a poem by John Langhorne. It appears to be an
edited stanza from a longer poem entitled “Fable VII. The Wall-flower” from his
collection of poems, The Fables of Flora (Johnson 447). It is unclear
whether the poem was adapted by Wilkinson or the publishing company, but the
poem alludes to the idea of remembrance and telling the stories of the dead.
This theme reflects in the story of Gertrude’s death and Richard’s journey of
Narrative Point of View
Spectre is, for the most
part, narrated in the third person by an anonymous narrator who is not present
in the plot. There are a few occasions throughout the story when the narrator
speaks in first-person plural, referencing the history of the story and its
translations. The narration follows the knight, Sir Richard, throughout the
entire story, and much of the chapbook contains dialogue and interpolated tales
spoken by a variety of the characters with whom Richard interacts, such as
Douglas. The narrative focuses more on plot and less on characters’ thoughts,
and the sentences are often long and descriptive. There is a bit of insight
into Richard’s feelings, but the narrator does not discuss other characters’
emotions unless the characters reveal their feelings aloud in dialogue. There
is also an instance where Sir Richard and Sir Kenelm exchange letters, which
are printed within the text in quotation marks; both Sir Richard and Sir Kenelm
refer to themselves in the third person in their letters. At times when Elenora
(also known as Gertrude) appears as a ghost, she also refers to herself in the
third person during her tales.
The moon, emerging from a black cloud just as he entered, enabled him to ascertain he was in a grand spacious hall, in the centre of which stood a large banquetting table He seized an extinguished taper, which he with difficulty lighted by the friction of some wood he found on the hearth. He had now an opportunity to observe the place more accurately. The table was laden with viands, some in a putrid state, some mouldering to powder; and to his eager view appeared vases filled with the juice of the generous grape. In a corner of the apartment he beheld the body of a man extended in death on the floor, the boards of which were stained with congealed blood. A murder had been committed here but a short time before. The sight of this did not alarm him; he knew not fear, but emotions of pity rose in his breast, for the unfortunate object before him, and a desire to develope the mysteries of the place he was in, prevailed over ever other consideration. (6)
First-Person Plural Narration:
But we must not anticipate in our story too much, and the Scottish manuscript from whence we translate, mentions some transactions that will better appear hereafter. In the mean time we must observe that after much consultation on these transactions, Lord Mackworth advised Sir Richard to appoint a meeting with Sir Kenelm at midnight. (16)
Sample of Sir
Richard’s Third-Person Letter to Sir Kenelm Cromar:
Sir Richard, brother to Lady Gertrude, returning from the Holy Wars, finds his venerable father mouldering into dust, brought to the grave by grief for the untimely fate of a beloved daughter, whose fair fame was basely called into question, and her dear life sacrificed to lawless love. —Sir Kenelm must account for this, and inform Sir Richard what is become of a dear sister. For which purpose Sir Richard challenges Sir Kenelm to meet him, in single combat, near that castle-gate where he, Sir Kenelm, banquetting with his new bride, beheld the injured shade of Lady Gertrude, when, for a slight offence, he stabbed his cupbearer. Eight days hence, exactly at the hour of twelve, Sir Richard will be there, with two of his most trusty friends. (16)
Sample of Sir Henry
Mackworth’s Interpolated Tale:
At his return to Palestine, finding I was in confinement, his generosity and friendship made him hazard his life to rescue me from my confinement. He succeeded beyond our most sanguine expectations. We continued together some time. We had but one heart, one purse, and were a pattern of friendship throughout camp and country. Clemena was often the subject of our conversation. I ventured to hint the inclination I felt for her, from his description and the picture I had seen. ‘Alas!’ said he, ‘I dare not flatter you with the least hope of success; my sister has been educated in a convent, and ever been intended by our parents for a nun, their fortune being too small to support us both in a manner suitable to our rank…’ I remonstrated with Vertolini on the cruelty of secluding a beloved sister, for life, within the dreary walls of a convent… (33).
The various types of
narration in The Castle Spectre allow for a deeper exploration of
different characters’ actions and emotions, as well as greater detail on the
setting and history of the story. The Castle Spectre utilizes several
techniques to augment suspense. On numerous occasions, the names of the
characters Richard meets are not revealed until the end of that individual’s
story, and the reveals often occur casually amidst the dialogue or narrative
with little emphasis. The reveal of the characters’ names has a great impact on
the entire plot, and the narration’s nonchalant delivery augments the suspense
and adds an element of surprise. As a result, many key details and surprises
are revealed suddenly and without foreshadowing. Though the narrator does not
touch on characters’ feelings often, the dialogue provides greater insight into
the different characters’ personalities and emotions. Because so many different
plots are embedded into the chapbook, the story is both engaging and, at times,
confusing: the chapbook is extremely fast-paced because so much action is
packed into each sentence, and in some cases it is difficult to follow the story
and to distinguish who is speaking or who characters are because the plot jumps
back and forth in time or between the different story lines. The moments of
first-person plural narration detail the story as if it were true by discussing
the sources from which the story was translated. These moments where the
narrator speaks as “we” directly to the reader, along with the detailed setting
and long rambling sentences, all conspire to make the story oral in feel, as if
being told to a friend.
Spectre follows the knight
Sir Richard over a period of several years. The story begins on a stormy night
in the Scottish Highlands. Sir Richard is traveling to his father’s castle in
the Grampian Mountains after a four-year deployment to the Holy War in
Palestine. He seeks shelter to ride out the storm, but no one will take him in.
In a flash of lightning, he sees the turret of a castle; he sounds his bugle
numerous times with no response, so he dismounts his horse and tries the door.
By chance, the door is unlocked, and Richard enters the banquet hall of the
castle. With only the moon and occasional flash of lightning to guide him, the
knight explores. The hall is filled with food and drink that appears to have
been placed there recently. In the corner of the hall lies the dead body of a
man; the floor is soaked with congealed blood. Sir Richard vows to unravel the
mystery of the catastrophe that occurred.
Sir Richard tours
the rest of the castle, which is magnificently decorated in gothic splendor. No
one is to be found and all is silent. He comes upon a great bed, and as he is
exhausted from his journey, he jumps in and falls into a deep sleep. At one
o’clock, a bell rings and Sir Richard wakes to the curtains of the bed being
ripped open. Standing at the foot of the bed bathed in blue light is a veiled
woman in a white dress. As he approaches her, the woman’s veil falls off and a
stream of blood gushes from a wound in her side. Richard looks into the woman’s
face, and it is none other than his sister! He calls to the apparition “by her
name Elenora” (though later in the story she is referred to predominantly as
Gertrude, with no explanation given for the shift in name) (7). Elenora the
apparition stands, not speaking, while holding her hand over the seemingly
fresh wound in her side. After repeated prodding, Elenora explains the story of
her brutal murder in the castle, revealing that two years after Richard left,
she married the owner of this castle, and in a fit of frenzy he stabbed her
(while she was pregnant) and left her corpse in a rubbish pile. Left to rot
without a proper Christian burial, she haunts her murderer and his new wife.
The scene that Richard came upon in the banquet hall was the remnants of their
wedding, which was ruined when Elenora appeared and terrorized the guests.
Finally, with a clap of thunder and a flash of lightning, Elenora vanishes in a
swirl of blue flame.
Shocked and overcome
with emotion, Sir Richard decides to leave and avenge his beloved sister. He
lets his horse take the reins on the way to his father’s estate and does not
realize the horse has gone down the wrong road. They come upon a cottage where
he is treated with great hospitality. The owner, Douglas, tells the story of
his childhood and time as a soldier, where he saved the life of the “worthy
nobleman, under whose banners I had enlisted” and was thus assured protection
and this cottage (11). Douglas explains that the nobleman has died and his son
is at war; he fears thar if he does not return, Sir Kenelm Cromar will take
over his estates and leave Douglas and his family to live out their days in
poverty. During this story, Douglas reveals the name of his former nobleman to
be Duncan, and Sir Richard reveals that Duncan was his father! This means that
Sir Richard is the son who has now returned home; the Douglas family rejoices.
Douglas’s story also reveals that Sir Kenelm’s first wife was Elenora (now
predominately referred to as Gertrude in the story). Upon Gertrude and Kenelm’s
marriage, Ally (Douglas’s daughter) moved into the castle where Sir Kenelm
“began to take great liberties with her” (12). Douglas says Lady Gertrude is
now missing and so is Ally. Because of Gertrude’s ghost’s daily visits, Sir
Kenelm and his new wife have moved to his hunting lodge so the castle remains
uninhabited. Sir Richard thanks Douglas and promises him a life of friendship
When he finally
arrives home, the servants rejoice at the return of their young lord. They tell
the knight all that has happened and grieve for the good young lady Gertrude
and their master Duncan. Enraged, Sir Richard vows to avenge her and lay her
body to rest in a Christian burial. He seeks out his father’s friend, Lord
Mackworth, and tells the man the story. Richard decides to challenge Sir Kenelm to
single combat, with Mackworth’s assistance. As part of their agreement,
Mackworth wants Sir Richard to marry his daughter and Sir Richard agrees. Sir
Kenelm accepts Richard’s request, mentioning that though it is illegal to fight
in this manner, he will do it anyways to honor the memory of the venerable
Duncan. Meanwhile, Kenelm sends a letter to the king, requesting that he send
men and imprison Richard before the fight occurs. Instead, the king decides the
two men will have an impartial hearing at his court and he will support
whichever cause is more just.
It is now the night
of combat, and the marshal Lord Glencairn asks if any last-minute
accommodations can be made. Richard declines, unless Sir Kenelm will admit to
murdering Gertrude and surrender to public justice. Kenelm refuses, saying that
Gertrude abandoned him for a lover, and Richard is about to stab him in rage
when suddenly, they are both commanded prisoners and summoned to the king’s
court. Before they leave with the soldiers, the clock strikes one and in a
swirl of thunder and lightning, Gertrude appears. She shares her story and
explains that three times now she has prevented Kenelm from murdering his new
wife. She requests a proper burial, asks Mackworth to protect Richard, and
vanishes in a thick blue flame amidst a crack of lightning and tremendous peal
of thunder. Richard breaks the silence and tells the soldiers to bring them to
the court, so that he can share the full story in front of the king. The
hearing occurs, and Kenelm is found guilty and sent to prison; he later has a
public trial and is condemned to death. Gertrude’s remains are recovered and
she has a proper burial; all the churches in the surrounding area hold masses
in her honor and her final wish is granted.
goes home. He keeps his house open to serve his father’s tenants, and the
neighboring nobility congratulate him on his return from the war and for
bringing Kenelm to justice. Nevertheless, Sir Richard is unhappy; he mourns the
loss of his father and sister and misses his lost love Lady Jane. The story now
shifts back many years, before Richard went to the Holy Land. He fell in love
with Mackworth’s daughter, Jane, and she waited for him to return from the war.
In the four years of his absence, Jane denied many marriage offers from wealthy
prospects, one of them being Lord Glendour. Finally, Richard returns and they
are set to marry. We learn that two years before Richard left, Mackworth’s son
went to war and never returned. They mourned his death, and Mackworth received
Richard as a son and the heir to his estates and domains. As they prepare for
the wedding at the Mackworth estate, Richard returns to his familial castle,
and in his absence, an unfortunate event occurs. One evening, Jane is kidnapped
while on a walk through the gardens. Mackworth sends news to Richard, who vows
never to return until he finds his love. He searches for weeks with no sign of
Jane, until he comes across a hut offering refreshments to travelers. The man
inside mentions that a gagged woman and man had come through just before and
were on their way to Italy. Richard chases them to the river’s edge and
resolves to follow them. For years, he traverses all of Italy, hopelessly
searching convents for his lover. He falls ill and almost dies from grief, but
dreams of Jane and vows to recover and free her.
The story jumps back
in time to Jane’s kidnapping, and it is revealed that Lord Glendour, one of
Kenelm’s friends, fell madly in love with her and kidnapped Jane to be with
her. He requests her hand in marriage, but she refuses. She tricks him into
allowing her to pass the time in a convent in Italy, where she is watched over
by the Lady Abbess and not allowed to leave. Back in the present, Richard meets
an English man in the middle of Venice. They become friends and visit the man’s
villa. Richard recognizes someone in one of the family pictures and asks the
man to share the story of why he left England. The man says the story is long,
but he has written it down for his children and will one day give Richard a
copy to read. After months of visits, Richard reads the man’s story and is
surprised by the similarities between them. The man, Wentworth, was the eldest
son of a noble house in England. He fell in love with a peasant girl Louisa,
and though he was promised to marry a noble woman Anna, he runs away with his
lover. He fakes illness and tells his father he will go to the Holy War; Louisa
goes with him, and they marry and have a son and daughter. He returns from the
war and vows to sort out his betrothal to Anna. Leaving his wife and children
in the protection of her father, he goes back to his paternal castle. He sets a
plan for his brother, William, to marry Anna instead, and it works. Elatedly,
Wentworth returns to the cottage and is devastated to find Louisa and his
infant son missing. They were tricked by a letter claiming to be from him, and
Wentworth suspects his own father to have sent it. For five years, Wentworth
and his daughter travel the world, though nothing can make him forget Louisa.
Receiving word of his father’s ill health, he returns to England. On his death
bed, Wentworth’s father reveals he sent Louisa to a convent in Italy, but she
escaped. Wentworth and his daughter go back to Italy to search for her, but he
never finds Louisa. He lives like a recluse in his villa, and this is where Richard
reenters the story.
Richard again visits
Wentworth. The man reveals he is Richard’s uncle but used a fake family name so
that he may retire in peace, away from the nobility. Richard explains that
during his search for Jane, he saw Louisa and her son in the Pyrenees.
Together, Richard and Wentworth begin their journey to the mountains to find
the long-lost wife and son. They come across a cottage that Richard had visited
before and reunite with Louisa and the son. Wentworth, now revealed to be
called Sir George, decides to return to his family home in England. Richard
promises to join them, if they can spare a few weeks for him to search for
One night on his
return to the Italian villa, Richard sees two criminals attacking a man. He
intervenes, and they admit they were hired by Count Vertolini to kill him.
Richard and the man go back to his house, so they may speak safely. The young
man then explains his story: he came from England to fight in the Holy War and
had a father and sister at home who he had not heard from in years. During the
war, he became great friends with an Italian man, Vertolini, who had a sister
named Clemena. The man falls in love with her, but is then taken prisoner in
Palestine. Four years later, Vertolini bribed the soldiers and freed his
friend, and they carry on their travels together. The Italian man reveals his
sister is promised to a convent, so she cannot be with his friend despite his
love for her. They meet the sister in Italy, where he becomes even more
enamored. Clemena admits she does not want to join the convent, but it is
necessary for her honor. Vertolini vows to save her before she takes the veil,
and the siblings try in vain to convince their father to free her. The father,
Count Vertolini, refuses the young man’s wedding proposal, and advises him to
leave Italy immediately. It is now revealed that the young man is Sir Henry
Mackworth, Lord Mackworth’s long lost son and Jane’s brother.
Back in the present,
Richard and Henry plan to rescue Clemena. While at the convent, a girl hands
the knight a note telling him to return at midnight to find something of great
importance. He listens, and that night, finds Lady Jane at the convent! She
explains her story and begs him to free her. Richard and Henry return to the convent
to demand her release, but the Lady Abbess refuses. The next day, Henry
interrupts the veiling ceremony and saves Clemena from the convent. Richard
goes back to England with Henry and Clemena, where he hurries to find
Mackworth. Together, they apply to the king and receive his royal mandate to
imprison Lord Glendour. The king sends word to the Pope, and Mackworth and Sir
Richard go back to Italy to retrieve a freed Jane. With Richard’s lover in tow,
they return to England. Wentworth lives in his castle with his family, there
are numerous weddings, Glendour dies in a convent, and Sir Richard is blessed
with years of happiness with Jane, Henry, Wentworth, and the others. They all
live happily ever after.
Frank, Frederick S. “A Gothic Romance.” Horror
Literature: A Core Collection and Reference Guide, by Marshall B. Tymn, New
York City, R.R. Bowker, 1981.
In this 1803 chapbook, Charlotte Frances Barrett (Frances Burney’s niece) writes a tale of adventure, surprise, and horror in which the righteous queen must be rescued from an evil usurper.
The Round Tower, Or the Mysterious Witness: An Irish Legendary Tale of the Sixth Century, by C. F. Barrett, is a gothic chapbook in the Sadleir-Black Collection of the University of Virginia Special Collections Library. The book is thirty-six pages, has no cover, and measures 17.3cm by 10.7cm. The front of the book is blank, save for the faint traces of ink that have bled through from the illustration next to the inside title page. Once the book is opened, an illustration of two cavaliers gesturing towards a godlike figure is observed along with the words “Vaughan delin” and “Barlow sculp” under the bottom left and right corners respectively. The illustration combines both etching and engraving and was printed from a copper plate. Additionally, the words “Round Tower” are written under the center of the illustration in a three-dimensional font. The inside title page follows the illustration and the author’s name is printed in the middle of the page in all capital letters. Beneath the author’s name is listed Barrett’s other publication: Mary Queen of Scots, Sc., and the quote, “Murder! Most foul, and Treachery most vile.” Farther down the inner title page, after the author’s name and credentials, is the publishing information and the words “Printed for Tegg and Castleman.”
The book is held together by glue binding; however, it is
worn and has lost its effect, leading to the book’s fragility. The binding used
to be accompanied by stitching that adhered the book to its cover as
illustrated by the holes in the sides of the pages closest to the spine, but
the cover has since fallen off, which contributes to the book’s tattered
The pages of the text are yellowed, have the texture of
sandpaper, and are splotchy, due to a chemical reaction that has occurred
between the chemicals in the paper and the environment in which the book is
stored. Moreover, the pages get increasingly brown beginning at page 25, and
appear more weathered than the pages at the beginning and middle of the text.
On each page, the text is centered and situated between margins
that are slightly larger on the top and bottom than the left and right. Each
page has the words “THE ROUND TOWER” printed in the center of the top margin
and the page number in the bottom left corner right under the text. The text is
small, closely set, and sophisticated with a font that appears similar to Times
The Round Tower boasts markings made by potential
previous owners. The first and second occur on page 11. In the bottom margin is
a signature written in cursive, however, it has faded and is therefore
illegible. At the top of page 11 in the right-hand margin, the initials LB are
written in cursive, insinuating that the book was once owned by an individual
before coming into the Sadleir-Black Collection. Finally, there is a blotch of
blue ink two-thirds of the way down page 25.
The Round Tower, Or the Mysterious Witness: An Irish
Legendary Tale of the Sixth Century, by C. F. Barrett, was published by
Tegg and Castleman in London in 1803; this appears to be the only edition and
there are no digital copies. Interestingly, the book is a plagiarism of John
Palmer’s popular gothic novel, The Mystery of the Black Tower (Tymn 41).
This tale is set in the time period of Edward the III and depicts the life of
Leonard, a young boy who earns knighthood and must embark on an adventure to
save his love, Emma, from imprisonment in the Black Tower. Published in 1796, The
Black Tower was influenced by Don Quixote as well as Clara Reeve’s The
Old English Baron and is still billed as “among the finest historical
Gothic novels” (“The Mystery of the Black Tower (1796)”).
Plagiarisms were very common among chapbooks at this time.
Francesca Saggini suggests that The Round
Tower was also inspired by contemporary theatrical performances. Saggini
characterizes Barrett as a “prolific hack … who adapted to the page several
Gothic spectacles performed … at popular London venues” (120). The
frontispiece of The Round Tower depicts the dramaticism of the
appearance of the supernatural apparition and the animated reflections of the
onlookers, thus illustrating how the gothic genre was influenced by performance
yet also available to readers “at a cheap price and in the safety of their own
homes” (Saggini 122). The frontispiece is also displayed in Frederick Frank’s
article “Gothic Gold: The Sadleir-Black Gothic Collection”along with a
description of the work that describes the book as a thrilling “Macbethian
Gothic” that includes dramatized supernatural elements (18).
Charlotte Frances Barrett, author of The Round Tower,
produced pamphlets between 1800 and 1810 and authored stories including, as
compiled by Franz Potter: The Great Devil’s Tale; or, The Castle of Morbano
included in Canterbury Tales (1802), The Mysterious Vision; or,
Perfidy Punished in the New Collection of Gothic Stories (1801), a
translation of The Shipwreck, or, The Adventures, Love, and Constancy, of
Paul and Virginia (1800), Douglas Castle; or, The Cell of Mystery. A
Scottish Tale (1803) for Arthur Neil, and Laugh when You Can; or, The
Monstrous Droll Jester (1800) for Ann Lemoine (104-5n). Barrett was also
the niece of Frances Burney (1752–1840), well-known author of Evelina (1778)
and Cecilia (1782).
Thomas Tegg (1776–1846), who published The Round Tower, was
a bookseller and publisher in London who specialized in “reprints,
out-of-copyright publications, remainders, and cheap satirical prints” (“Thomas
Tegg”). He also published accounts of shipwrecks that included engraved folding
frontispieces (Weiss 60). Tegg and Castleman were prolific: “between 1802 and
1805, Tegg and Castleman co-published at least nineteen novelettes in
collaboration with Dugdale” (Loeber and Stouthamer-Loeber 26). Potter calls Tegg
“the most prominent, if not notorious, publisher of gothic chapbooks and
pamphlets in the early nineteenth century” (59).
Point of View
The Round Tower is narrated by an omniscient narrator
who has insight into the thoughts and actions of each character. The story is
narrated in a venerable tone using lengthy sentences that are broken up by
punctuation. The narration primarily focuses on the emotions of the characters
and how they influence the characters’ dispositions and behaviors. Additionally,
the narrator relays the tale with great expressivity by contextualizing every
event in the story with dramatic and detailed descriptions.
Enraged at her firmness, Sitric seized the infant, and, drawing his poignard, he raised his arm in order to plunge it in the bosom of the latter, when, driven to desperation, she rushed on the perfidious Dane, and, wrestling the fatal weapon from him, would have plunged it in his heart, but at that moment the door of the dungeon flew open, and Cobthatch, attended by the vindictive Connora, rushed in, followed by several of the usurper’s guards. Appalled at the sudden appearance of her husband’s enemy, the poignard fell from the hand of Moriat, which Connora instantly seized, fearful (in despite of her lord’s neglect) lest in a paroxysm of despair Moriat might yet use it against his life. (19)
The narrator’s omniscience allows for multiple characters’
perspectives to be included in the relation of the book, which illustrates
their motives, ambitions, and values to add nuance and intricacy to the tale.
Likewise, the multitude of punctuation functions to provide the narrator with
inflection and gives the impression that the book is being told as a story. The
narrator’s emphasis on the characters’ feelings centers the driving force of
the plot around emotion and asserts its power as a motivating force behind the
characters’ actions. Furthermore, the descriptive and intensified manner in
which the book is narrated creates a theatrical tone that results in an
Cobthatch, King of Munster, is listening to music in an attempt to
calm his anxiety about the fact that he has unjustly obtained the throne by
killing his uncle, Laughair. He is then notified that Maon and Moriat, the son
of his murdered uncle and his wife, are still alive, and orders his associate,
Sitric, to ensure their execution. However, Maon and Moriat do not know the
other is alive.
Meanwhile, Moriat is in the mountains where she has been able to
secure lodging. One day when she is mourning the loss of Maon, who she thinks
is deceased, she carves his name into a nearby rock. While doing so, she is
startled by a man approaching her, but then realizes it is Kildare, her loyal
attendant. He recalls his experience venturing out to secure provisions and
tells Moriat the story of how he discovered Maon. He recollects that he heard a
groan and was convinced it was a ghost, but then realized it was Maon, who at
the time had drawn his sword with the intention of committing suicide. Kildare
caught the Lord before he impaled himself, and they embraced upon their
reunion. Maon immediately wanted to be shown to Moriat, but Kildare convinced
him the sudden shock would be too much for her to bear and convinced Maon to wait
until he could deliver the news.
Upon hearing that her husband is alive, Moriat waits the entire
night for his return with their child at her side, but Maon never shows.
Instead, Moriat is pursued and cornered by Cobthatch’s guards, who take her to
Sitric’s castle where she and her infant are detained in the dungeon. Sitric is
enamored by Moriat’s beauty and wants to spare her from death at the hand of
Cobthatch. He therefore goes to Cobthatch and makes up a story where he states
that Moriat refused to reveal Maon’s location and therefore, he stabbed her.
This satisfies the king, and he is happy to know he will not have to worry
about her raising suspicion. When Sitric returns to the dungeon where Moriat is
being held, he asks that in return for him sparing her life, she complies with
all his future demands. She responds that she will not break her marriage vows,
but that someday her son will be able to repay him. Sitric, infuriated by her
lack of compliance, chains her infant to the opposite wall. He returns the
following night, and when Moriat again refuses to comply, he gives her an
ultimatum that if she does not obey, both her and her baby’s life will suffer
In the meantime, Sitric’s wife, Connora, suspects that her husband
is devoted to another, and devises a plan to observe him. She disguises herself
and follows him to the dungeon where she overhears his conversation with
Moriat, thus confirming her suspicions. Sitric returns to visit Moriat and is
on the verge of stabbing her infant out of anger at her firmness, when Connora
and Cobthatch enter the room. Cobthatch, enraged at discovering that Moriat is
alive, demands that she and her baby be removed to the Round Tower.
While Moriat was captured, Kildare and Maon encountered troops, causing
a delay in their visit to reunite with her. When they venture out the next
morning, they see Sitric’s party in the distance and Kildare suggests they
retire to the cottage of a loyal friend, O’Brian, until they can gather a party
large enough to overpower Sitric’s army.
Once at the cottage, Kildare relates the adventures of Maon and
Moriat since the death of Laughair to O’Brian. He recalls that Laughair had
stayed at the castle of Cobthatch when he was murdered, and that Maon and
Moriat, being accused of the crime, fled to O’Brian’s cottage. Here they were
discovered, which resulted in Moriat fleeing to the mountains and Maon
embarking on a ship that was said to have capsized, leading Moriat to believe
In an effort to rescue Moriat, Maon resolves to enter Sitric’s
castle disguised as a friar and embarks on his journey. Once he arrives, Maon
encounters Sitric, who relates the story of Moriat’s captivity from the
perspective of her savior and offers to lead Maon to the Round Tower. The next day,
as Sitric leads Maon through the passageways, he decides to kill him.
Immediately before he stabs him, the ghost of Laughair appears and instructs
Sitric to lead Maon safely to the dungeon, or else he would face his vengeance.
Once at the door, Maon and Sitric discover Cobthatch attempting to rape Moriat,
leading Sitric to stab and kill him. Sitric then accuses Maon of the murder and
has him taken prisoner. Because of the death of Cobthatch, Sitric is crowned
Following Cobthatch’s murder, Sitric offers Moriat the freedom of
her husband and child if she agrees to have sex with him. At this moment,
Laughair’s ghost reappears and tells Moriat not to trust the tyrant, and she
complies with his instructions and holds firm.
Later that evening, Sitric discovers that Moriat has escaped,
accuses Maon of aiding her to freedom, and orders the execution of him and his
child. The moment before the axe is to execute Maon, Sitric tells him that if
he resigns his title to Moriat and tells him her location, Maon will be spared.
He refuses and at that moment, Kildare enters the courtyard with a band of
peasants and enters into combat with Sitric’s men. While Sitric is engaged in
fighting, Moriat stabs him, which causes his troops to disperse.
After the death of Sitric, Kildare presents to the nobles that
Maon should be king, and when asked for proof of his innocence, the ghost of
Laughair appears for the final time to declare that Maon is the rightful heir
of Munster, and he is crowned king.
Once Maon and Moriat are restored to the throne, Moriat retells
that she escaped because the ghost of Laughair led her to the cottage where
Kildare was staying. Once she arrived, Kildare had assembled an army of
peasants ready to restore the true king to power.
Maon and Moriat enjoy a life full of joy and peace together, and
his rule becomes known for its justice and serves as an example to other
Barrett, Charlotte Frances. The Round Tower,
Or the Mysterious Witness: An Irish Legendary Tale of the Sixth Century. London,
Tegg and Castleman, 1803.
Frank, Frederick. “Gothic Gold: The
Sadleir-Black Gothic Collection.” Studies in Eighteenth-Century Culture,
vol. 26, Johns Hopkins University Press, Baltimore, MD, 1997, pp. 287–312.
Loeber, Rolf, and Magda Stouthamer-Loeber.
“The Publication of Irish Novels and Novelettes: A Footnote on Irish Gothic
Fiction.” Cardiff Corvey: Reading the Romantic Text, 10th ed., e Centre
for Editorial and Intertextual Research, Cardiff, Wales, 2003, pp. 17–44. http://sites.cardiff.ac.uk/romtextv2/files/2013/02/cc10_n02.pdf
Potter, Franz J. Gothic Chapbooks,
Bluebooks and Shilling Shockers: 1797–1830. University of Wales Press,
Saggini, Francesca. The Gothic Novel and
The Stage: Romantic Appropriations. Routledge, Taylor Et Francis Group,
Set in England and published in 1827, The Twin Sisters warns of the sexual improprieties of men, cautioning that men lead to the destruction of women, unless women are resilient in their actions.
The book containing The Twin Sisters; or, Two Girls of Nineteen: Being the Interesting Adventures of Sophia and Charlotte Melford. An Affecting Narrative by “Charlotte, one of the sisters” is a small 9.1cm by 14.15cm worn book. The book contains seventy-two pages total: pages three through forty-two detail the story of the twin sisters and the remaining thirty pages recount Orphan of the Castle: a Gothic Tale, or the Surprising History and Vicissitudes of Allan Fitz-Roberts, the Orphan Heir of the Castle of Lindisfarne by an unknown author.
This desaturated teal-colored hardcover book is discolored by light warm-brown staining. The discoloration is most exaggerated on the bottom edge of the book. The front cover has a thin crack halfway up the page, starting from the right side, tapering off until it reaches a cool dark-brown freckle near the middle of the book. This dark splotch is the most distinctive out of many, most likely unintentional, freckles splattering the cover, giving the book an aged appearance. There is also a 0.5cm in diameter distinctive stain in the upper left-hand corner, rimmed thinly with a warm dark-brown and filled with a cool-blue grey. The stain resembles a hippopotamus’s head with a small protrusion where the neck should be, giving the appearance of a small gourd.
The binding is exceedingly damaged. The book, bound similarly to modern hardcovers, has a cardboard-like substance acting as the base, wrapped in a colored paper to attach the front hardcover with the back. The desaturated orange-brown colored cardboard-like substance peaks from the corners of the book where the teal paper covering has worn through. The paper cover folds over the edges of the hardback and a rectangle of white paper, now discolored with age, pastes over it to secure it. Only severely degraded paper covers the spine. The spine is intact from the bottom until 8.2cm up from the bottom, where it is torn off completely until 11.5cm up from the bottom. A few centimeters of the paper remain attached, but only attached to the left edge of the spine. In the binding of the pages, some type of adhesive glue adhered each edge of the paper together with a thin bit of string threaded through all of the pages in three places near the center of the inner margin or gutter of the book. Each puncture falls one centimeter apart.
The paper, brittle and browned from age, has the most browning along its edges. On the first page, an 8 by 3cm rectangle-shaped discoloration appears in the middle of the page. A few of the pages are ripped, but only along the bottom edge, including the first page, resulting in a brown staining its negative on the third page. A few of the odd-numbered pages are marked below the text with signature marks used by a printer; the marks appear as a combination of letters and the number 2, ranging from A2 to D2 in The Twin Sisters. The Orphan of the Castle has more damage to the paper detailing its story than The Twin Sisters. The damage evokes the interaction between watercolor paint and salt, giving the pages a speckled appearance.
When looking at a standard spread of The Twin Sisters, the thirty-four lines of text are fully justified causing the spacing between words to be on average narrower than standard. The margins are consistent at 1cm on the bottom and outside edge with the top margin 1.5cm to leave adequate room for “The Two Girls” above the text on the left page, and “Of Nineteen” above the text on the right page. All of the pages are numbered, except for the first page of The Orphan of the Castle and the first three pages of the book: the title page, the blank back of the title page, and the first page of The Twin Sisters.
Beyond a mostly illegible scrawl of what appears to be the name “Mr. Wyllis” in the top left corner of the inside of the cover, and the University of Virginia Library bookplate, there are no illustrations, marginalia, or personal marks in the book. Neither is the title of either story listed anywhere apart from the title page and the first page of each respective story. On the opening page of each story, each of the titles is shortened from their full form inscribed in the title page to just the primary title, without its subtitle.
The title page attributes Charlotte Melford, the narrator of the story, as the author of The Twin Sisters; or, Two Girls of Nineteen: Being the Interesting Adventures of Sophia and Charlotte Melford. An Affecting Narrative; however, this is spurious, as the far-fetched story is a work of fiction. There are no other authors listed in any available copies of the book, except one WorldCat entry erroneously listing the publisher, Freeman Scott, as the author.
The copy held at the University of Virginia Albert and Shirley Small Special Collections Library was published in 1827 by Freeman Scott, with premises on the N.W. Corner of Tenth and Race Streets, Philadelphia. There was another publication of this story produced in London and “printed and sold by Dean & Munday, 35, Threadneedle Street” (as noted on its title page); this copy has been digitized and made available on Google Books, which lists the date at 1830, though this date is not shown anywhere on the scan of the book. The two copies are very similar in most regards but differ substantially in some ways. The Freeman Scott version is one of two stories in the chapbook, with the other being Orphan of the Castle, and The Twin Sisters accounts for pages 3 through 42; by contrast, the Dean and Munday edition was published alone and accounts for pages 8 through 36 of its book. The difference in page count is primarily due to what appears to be differences in margin size as well as page size; the body of the text is largely the same. There are, however, some discrepancies in the text, especially with punctuation. The two editions have very little consistency between their punctuations with over six changes between the two editions on the corresponding text of the first page of the Scott edition alone. Occasionally, there are also some changes in word choice: for instance, page six of the Scott edition uses “written” while the corresponding section of the Dean and Munday edition uses “wrote” on page nine. Or, later, in the same sentence, the Scott edition uses “house” while the Dean and Munday edition uses “home.” There are also some cases where there is an entire half of a sentence or full sentence present in the Dean and Munday edition that is missing in the Scott edition, such as the inclusion of “to go with her; my father she said, was visited by dissolute men in whose company it would be imprudent for us to mix” at the end of a sentence on page ten in the Dean and Munday edition but not the Scott edition. Perhaps most notably, the Dean and Munday edition includes an illustration of the scene where Charlotte is taken from her lodgings by the police as the frontispiece before the title page; this illustration is absent in the Scott edition.
WorldCat also lists several other editions with various publication years, all attributed to Charlotte Melford. For instance, WorldCat lists an 1821 edition that is twelve pages long and was published for wholesale and retail in New York at 386, Broadway, W. Grattan Printer by S. King, and sold at his bookstore. There is only one library with this 1821 edition: the University of Iowa Library.
WorldCat lists an 1823 edition that was published for wholesale and retail in New York by W. Borradaile. This copy is one of the earliest editions and does not have the attached Orphan of the Castle story. This version is thirty-six pages long and includes an illustration.
WorldCat also identifies an edition with an unspecified publication date in the 1800s, and Jstor lists the date for this version as somewhere between 1814 and 1837. This edition was printed in London “for the booksellers, and for J. Kendrew, Colliergate, York.” In the WorldCat entry, James Kendrew is listed as one of the named persons in the book twice alongside Sophia and Charlotte, even though he never appears in the book. This copy appears to be similar to the Dean and Munday edition as the story spans pages 8 through 36 and has a front plate illustration like the Dean and Munday edition; however, this version is listed as being one centimeter smaller (19cm compared to 20cm). The University of York Library, in the United Kingdom, is the only library with a copy of this edition. There is a scan of this book on Jstor, in the form of a photograph of each page spread, showing that it is very similar to the Dean and Munday version of the book as the punctuation and general length and spacing of the book appear to be consistent. There is however a difference in the fonts on the title page and the image on the page before. The image in this University of York version is not colored and depicts the sisters together before they depart on their trip to London. The covers of both books also appear to be a warm brown color, however, the image of the University of York version is more degraded than the image of the Dean and Munday edition available on Google Books. The Kendrew edition of the book most likely contains another story after it within the same physical book, since in the Jstor scan the last page of text is on the left, leaving the right page blank, allowing for the ink from the image on the back of the page to show through. Furthermore, visually, there appear to be numerous pages left in the book.
Fourteen libraries in the world, including the University of Virginia Library, have a copy of the 1827 Scott edition of this book according to WorldCat, with thirteen of the fourteen being in the United States and the last copy being in Canada. The copy of the Scott edition that is owned by the New York Public Library was digitized on January 19th, 2007 onto Google Books where it can be read for free. This copy is the exact same, textually, as the Scott edition owned by the University of Virginia; however, the cover and physical quality are distinct, since the New York Public Library version appears to be in better physical condition and has a harder warm-brown cover as opposed to the worn discolored teal of the University of Virginia version. There is an odd speckling on the first few pages of the New York digitized version that is absent in the physical University of Virginia version.
There is also another book about the sisters called The Sisters, or, Virtue Triumphant : Being the Eventful History of Sophia & Charlotte Melford, which is depicted as authored by Charlotte and Sophia Melford and available on Google Books; other library catalogues, including McGill Library’s Chapbook Collection, New York Public Library Catalogue, and WorldCat just list Charlotte Melford as the author. According to WorldCat, The Sisters, or, Virtue Triumphant was printed by Hodgson & Co. in London at No. 10, Newgate-Street, sometime between 1822 and 1824, indicating that this story predates most but not all editions of The Twin Sisters. From the frontispiece of The Sisters depicted on a scan from the McGill Library, the story appears similar to that of The Twin Sisters in that they share the same general plot points: the smugglers in the sisters’ room dressed as women, Charlotte being taken by the constables, Charlotte and the Colonel, and Sophia being turned to the street (The Sisters 1). The McGill Library catalog entry notes the book is written by Robert Cruikshank, but he is most likely the illustrator of the images.
There are newer publications of The Twin Sisters—with Kessinger Publishing, LLC republishing The Twin Sisters in 2010 and Forgotten Books republishing it in 2018—that can be purchased on several online websites such as Amazon, eBay, and Better World Books.
Narrative Point of View
Charlotte, one of the sisters, narrates The Twin Sisters in the first-person point of view. The narration of the plot is fast paced, with many brief summaries of long periods of time, oftentimes spanning several years, but, at the same time, Charlotte imbues the story with haughty, verbose language in some instances, giving it a formal feel. The chapbook is told in the past tense, making it seem like a story Charlotte is reflecting on and sharing with the readers rather than being more present in the action. This gives the narration a detached sense, which is compounded by the formal titles that she calls every character. She refers to everyone in the book, except her aunt Emma, Sophia, and Susan by their formal names, her close friends, her husband (she calls him Colonel Woodly or colonel), and even people whom she despises. Charlotte focuses primarily on her actions and interactions with people rather than going in-depth about her thought processes or feelings. There is minimal dialogue throughout the novel, with paraphrasing of dialogue more common.
The coach went on with rapidity, and I found in a short time that we had left town, and were proceeding along a road that appeared very dreary. I became seriously alarmed, though, to speak with justice of his lordship, he did not offer to take the least unbecoming liberty. He felt my hand tremble, and bade we dismiss my fears, that we were only going a little way beyond Bayswater, and were near our journey’s end. We stopped at a neat white house, the coachman was ordered to knock, but the summons was several times repeated with violence before the door was opened; nor was that done till a female demanded in a harsh discordant voice, who was there at such an hour? And discovered Lord Morden to be the intruder. (21)
It seems as though Charlotte is trying to prop herself up with the narration, since, by using her extensive vocabulary to create a more complex twist on a simple narrative, she is showing off her intelligence and education. She was born into a lower-class family but was given a genteel education by her aunt, so she is trying to use this education to distinguish herself from these lower classes and establish her place in the upper class of her husband. Relatedly, she refers to people in higher social classes than herself in more formal ways, regardless of her personal feelings about them, and calls people at or below her social class by their informal first names, indicating that they are beneath her. Charlotte distances herself from this story throughout her narration; the writing is closed off and impersonal in most instances, not demonstrating the emotions of terror, disgust, loneliness, and joy. She seems to breeze past her emotions, mentioning a slight hand tremble and feeling “seriously alarmed” but then immediately changing the subject or focusing on the actions of the scene rather than her perceptions of it, as though they are nothing. This generates the distance between the events of the story and the narration, and also functions as a form of protective emotional detachment.
Charlotte, one of the sisters, begins The Twin Sisters with the purpose of the story: a warning to the “fairer sex” about the “delusive arts” of men (2). The Twin Sisters then briefly describes the background of the sisters’ family, detailing the tragedy of their lives and history of issues with financial support. Their mother dies in a horseback riding accident, pushing their father into a grief-fueled sickness from which he eventually dies. His death leaves the girls penniless under the guardianship of their aunt until she too dies a few years later.
The girls receive a letter from Mrs. Mowbray, a friendly neighbor one summer, offering one of them a job as a nanny in London to a rich family, the Aspleys. Having no real opportunities, they accept and venture on their journey to London.
They stop for the night at a crowded inn and are forced to share a room with two other female travelers, who they later discover to be male smugglers in disguise. These men come into the rooms after their late dinner while Sophia is sleeping and while Charlotte is pretending to sleep. Charlotte overhears them consider raping her and her sister before they drunkenly fall asleep. Much to Charlotte’s relief, the smugglers’ coach arrives before they have the chance to hurt either of the sisters.
The rest of their trip to London is uneventful. Upon their arrival, they are summoned by Mrs. Mowbray to meet the wealthy Lady Aspley. On the advice of Mrs. Mowbray, she chooses Sophia for the nannying position, but Charlotte remains living with Mrs. Mowbray.
Charlotte becomes apprehensive as the company Mrs. Mowbray keeps acts more rudely and obscenely than how she expected people of their supposed standings to behave. When she questions Mrs. Mowbray about it, she just calls her a “pretty innocent rustic,” stating that this behavior is normal for townsfolk (16). In an attempt to confirm her apprehensions, Charlotte tries to visit Sophia to compare their experiences. Mrs. Mowbray informs her that is impossible as Lady Aspley’s household, along with Sophia, had moved to Margate so their sick child could sea-bathe. When Charlotte tries to leave anyway, she is stopped by Mrs. Mowbray and some of her servants. They lock Charlotte in her bedroom, causing her to realize she and Sophia were betrayed by Mrs. Mowbray.
From a servant, Susan, who brings her food, Charlotte finds out that Mrs. Mowbray is a sex trafficker, or rather a “procuress who was employed by (to use [the servants] own words) very great gentlemen to ensnare young girls” (17). The servant also informs Charlotte that a man named Lord Morden paid Mrs. Mowbray to set this trap specifically for her as he had taken a fancy towards her. After this revelation, Charlotte bribes Susan to help her escape; Charlotte sneaks out of the room, but faints from fear and wakes up in the arms of Lord Morden. He asks her to give him her affection and to live with him. Charlotte declines his offer, stating she is imprisoned because of him, so why would she want to be with him. When he offers to free her from Mrs. Mowbray, she agrees to go with him as, in her mind, it was better to be content with him than to live enslaved to the “vile” Mrs. Mowbray (21).
Lord Morden then takes her to the house of his former mistress, Matilda, whose life he ruined after taking her innocence, and asks her to watch over Charlotte for a few days. Charlotte is furious as she feels imprisoned again, so she asks to leave. Matilda, partly because of her jealousy towards Charlotte and Lord Morden’s relationship and partly because of her anger towards Lord Morden, agrees to let her go.
Charlotte flees Matilda’s house and finds shelter at a boarding house where she is subsequently falsely arrested for forgery the next day. The victim of the forgery, Mr. Newton, comes to identify her, but brusquely proclaims Charlotte’s innocence. He then offers to take Charlotte back to her room at the boarding house to collect her things. In the carriage ride, he solicits her for sex as he believes her to be a prostitute. Charlotte is horrified by the offer and demands to be let out of the coach. On his refusal, she starts screaming, causing the coach to stop to make sure everything is alright. Charlotte uses this chance to escape.
Charlotte stops at a toy store to rest from her vigorous dash away from the carriage. The owner, a nice old woman named Mrs. Brent, agrees to provide her room and board. Charlotte then gets a job as an English teacher with connections from her bank. Things seem to be looking her way, until one day Charlotte runs into Sophia on a walk. Sophia tells her that she should have yielded to Lord Morden as she would be safe from the danger of the world. Sophia then goes on to share her experiences in the time they were apart and how happy she is with her place in life. Mrs. Mowbray introduced Sophia to a wealthy man named Mr. Greville. He raped her, took her on as his mistress, and is now supporting her lavish lifestyle financially.
Some time passes before her next interaction with Sophia in the form of a letter asking for a meeting. Sophia looks like a wreck; Mr. Greville found a new mistress and abandoned her, forcing her into prostitution, but she still refused to accept Charlotte’s help. She says she is content and happy with her life, that she has time to repent after she retires.
Time passes and Charlotte falls in love with Mrs. Brent’s nephew, Colonel Woodly. Despite the fact that he likes her as well, she feels the marriage is one of unequals. She will sully his reputation with marriage and his mother would never agree to it. His mother, however, overhears this conversation and agrees immediately to the union. They marry and have a successful marriage with two children.
Three years after the marriage, Mrs. Brent arrives, announcing that she found Sophia passed out in the streets and took her in. Sophia had experienced all of the degradations that came with prostitution: she was abandoned by her pimp; sick, penniless, with nothing more than the clothes on her back. Charlotte then helps care for her physically and spiritually. She now lives a very pious, peaceful life in South Wales.
The Twin Sisters, or, Two Girls of Nineteen : Being the Interesting Adventures of Sophia & Charlotte Melford. An Affecting Narrative. London : Printed for the booksellers and for J Kendrew Colliergate York, pp. 1–17, https://jstor.org/stable/10.2307/community.29959877.
Set in a secluded castle in 1517 northern England, Sarah Wilkinson’s 1805 chapbook includes romance, jealousy, friendship, and mystery.
Monkcliffe Abbey, A Tale of the Fifteenth Century, To which is added, Lopez and Aranthe; or, The Suicide. By the same author was published in 1803 by Kaygill & Adcock, and written by Sarah Wilkinson. It was printed by W. Glindon in Haymarket, London, and sold for sixpence. The extant copy was originally printed as a chapbook, but later rebound into a collection of similar stories entitled The Entertainer, vol. 4. A handwritten table of contents, including titles, authors, and publishers, is included on the front endpaper. Page numbers are not included; due to the separate origins of each story, the numbers (along with fonts, margin sizes, and layouts) restart with each new chapbook. This volume of The Entertainer contains six chapbooks and sixteen unique stories, including Canterbury Tales.
This copy is bound in a kind of thick cardboard material, covered with paper, and decoratively mottled in black and brown, protected by a clear plastic jacket for use in the library. It measures approximately 18.5 centimeters long by 11 centimeters wide. The spine is embossed in gold with the title, The Entertainer, which appears nowhere else in the book, and with embellishments on the spine’s edges and middle. This copy was bound with twine and glue, which is now quite delicate. The edges of the cover and spine are somewhat broken in, especially on the bottom of the spine, where the cardboard cover is beginning to crack off. Inside, the paper is yellowed and thin, but not brittle. Although the paper is discolored, it is not frequently stained—some small, splattered marks appear at intervals. The paper has an almost fabric-like texture, and is delicate while maintaining flexibility. Some pages are torn and folded, likely accidentally—none are dog-eared or torn completely out. In this copy, Monkcliffe Abbey is printed in a small serif font, with margins of two centimeters at top and bottom and one centimeter on the sides. Page numbers are found on the top outside corner of each page, printed in the same serif as the prose. The story is twenty-two pages long. The title page of the Monkcliffe Abbey chapbook lists the full title, including the addition of The Suicide. Every other instance of the title’s printing abbreviates it to only Monkcliffe Abbey, both on the first page of the story and in the handwritten table of contents. The author’s name is written as “S. Wilkinson” on the title page and in the table of contents, and as “Sarah Wilkinson” on the first page of the story. The title page also includes two illustrations, a larger one representing two women discovering a monk, and a smaller one under the title, with a man, right arm raised, walking up to a woman playing a sort of lute. The larger image has created a shadow of itself on the title page opposite. In the front of the book, an address card is inserted. Formal script on the front reads “Mrs. M.T.H. Sadler,” with an address included on its bottom left corner. The back reads “Oswick the Outlaw,” which has been handwritten in blue ink.
Monkcliffe Abbey is one of Sarah Wilkinson’s lesser-known gothic stories, frequently left unmentioned in lists of her work and life achievements. There are two copies available through the library system at the University of Virginia. One of these copies, primarily discussed here, was published by “Kaygill, etc.” in London, in 1805, and rebound into a collection of gothic novels at a later date. The other was printed across the Atlantic, by James Oram in New York City, two years later. The full novel is also available online through scans of the collection America’s Historical Imprints. This online version is the later, American printing. There does not appear to be much discrepancy between the two copies, other than the specifics of their publication and their titles: the version published in New York by James Oram is entitled Monkcliffe Abbey, or, the History of Albert, Elwina, and Adeline, while the one published in London by Kaygill uses Monkcliffe Abbey: A Tale of the Fifteenth Century instead.
Monkcliffe Abbey is very rarely mentioned, either in collections of gothic works or works by Sarah Wilkinson, who was a prolific author of the genre. One exception can be found in The Gothic Ideology: Religious Hysteria and Anti-Catholicism in British Popular Fiction, 1780–1880, where Diane Hoeveler discusses the text’s use of the abbey as a gothic trope:
“Sarah Wilkinson’s ‘Monkcliffe Abbey’ (1805) is an example of a chapbook that uses the abbey in order to dwell on the usurpation theme. Very specifically dated to 1517, the action begins the year that Sir Archibald Barnett retires to the former Carthusian abbey in the north of England with his wife and two daughters Adeline and Elwina… The abbey is the setting for a traditional romance between the daughters and their suitors, one of whom is fleeing a friend turned foe who disguises himself as a cowled monk in order to inhabit one of the ‘haunted’ wings of the abbey (Wilkinson, 2009: 185). An architectural description of the abbey suggests the antiquarian investment in the theme by a writer as simple and straightforward as Wilkinson. The ruined abbey functions in this chapbook as little more than a picturesque setting, but it possesses considerably more ideological freight in a work by such a writer as Nathan Drake.” (218–19)
The story is also mentioned in Gothic Fictions: Prohibition/Transgression by Kenneth Graham, in a list of Gothic illustrations. The illustration from Monkcliffe Abbey is the same title page engraving found in its London-printed edition, of “Adeline and Elwina in the typical Gothic situation of startled discovery” (Frank 287). This illustration is reprinted in Franz Potter’s collection of gothic chapbooks, many written by Sarah Wilkinson, Literary Mushrooms: Tales of Horror and Fiction from the Gothic Chapbooks, 1800–1830.
Narrative Point of View
Monkcliffe Abbey is narrated in the third person, past tense, and without a framing story. The narrator is never mentioned or alluded to within the novel. The text is fairly straightforward, but sentences are lengthy and full of information. The narration focuses equally on dialogue, action description, and omniscient insight into the characters’ inner thoughts and feelings.
Elwina presently observed that the hand writing was the same—with the paper she had found in the chapel.—she was struck with horror and astonishment, when she reflected, that, perhaps, this victim of sorrow ere now had died through grief; or, perhaps, had committed some rash deed!—But, fearful of indulging her thoughts in this dismal place,—she deposited the paper with the picture on the shelf,—and returned with emotions of sorrow. (18)
One striking aspect of this narration is its use of punctuation. Especially in the above, quite active example, the exaggerated, slicing punctuation marks create a sense of quickness, motion, and finality. Throughout the text, this visual aspect—literally slicing between sentence fragments—is seen in more active scenarios, mirroring the choppy, frightened thoughts of the characters and creating a fast-paced feel.
The time for Albert’s departure being arrived, he claimed a gift from each of the ladies. Adeline presented him with a scarf of her own work, which he instantly bound round his bosom: Elwina presenting him with a ring from her finger; and, in a faultering voice, besought him to remember her father.—There was something so tender and pathetic in her manner, that it touched the strings of Albert’s heart,—at once with pity and respect for the lovely maiden. (15)
In more tender or calm scenes, such as this second example, the use of dashes has been reduced, although not completely halted. The more flowery, emotional, and flowing language of the second example serves to slow down the scene, emphasizing the tender and soft qualities of the characters in that moment. Even though the story is narrated in the third person, the omniscience of the narrator and the careful use of punctuation creates a sense of immersion.
Monkcliffe Abbey tells the story of a family living in seclusion in a sixteenth-century abbey according to the wishes of Sir Archibald Barnett, a retired warrior, and his wife, Lady Barnett. Along with their two young daughters and a small domestic staff, they live completely shut off from the outside world; no one is allowed to enter, and those who inhabit are only allowed to travel a short distance from the grounds of the abbey. Adeline Barnett, the eldest sister, is beautiful, but obscenely vain and arrogant. The younger sister, Elwina, is fair and sweet, and her generous character outshines her physical appearance. The girls enjoy walking in the country surrounding the abbey, and on one of their walks, they discover a knight lying in a puddle of his own blood. They frantically find help at a nearby cottage, and they return to the abbey while the knight is treated. After they explain the situation to their parents, Sir Archibald leaves for the cottage, only to discover the knight to be Albert de Clerville, a family friend. He brings Albert back to the abbey to recover in peace. Once Albert is well, he tells the whole family the story of his injury. His friend, Edward Barry, held a jealous grudge over Albert for his acquaintance with the beautiful Duchess Sophia Clifford. After dueling Barry multiple times and denying the requests of Lord Clifford to marry his daughter, he left the Clifford estate. On his journey, a helmeted knight stabbed him in the heart.
While walking home one night, Elwina is startled by the figure of a hooded monk walking slowly in front of her. After running home, she is too agitated to explain her situation, and faints. The next day, Albert and Elwina decide to explore the chapel within the abbey, when the head servant, Margaret, rushes in to declare Lady Barnett dead of “an apoplectic fit” (14). As Elwina and Adeline are talking that evening, they see guards rushing towards the abbey. Sir Archibald is arrested due to apparent treasonous acts, and is taken to jail. Albert is left to plan the funeral of Lady Barnett and to watch over the house, but once the funeral is over, he leaves.
Elwina is taking a walk some time later when, distracted, she wanders into an abandoned cell block in the abbey. To her surprise, someone appears to be living in one of the cells. She heads back to the chapel, and there finds the same monk she had seen before. He calls out to her, and they run into each other, falling and hitting their heads on the stone floor. Once Elwina wakes, she finds Margaret, and they investigate the cell together. There, the supposed monk reveals himself to be the knight Edward Barry, who believes he killed Albert after stabbing him in the heart. Elwina is unsure whether Albert is dead or alive, but to her relief, Albert returns to the abbey with Sir Archibald, no longer incarcerated, who has been given the title “Earl of Monkcliffe.” Adeline gets married to an unnamed man, and once Albert realizes his feelings for Elwina, they are married as well. The story ends with Elwina and Albert staying at Monkcliffe Abbey, in “a pattern of domestic virtues” (22).
Brown, Susan, Patricia Clements, and Isobel Grundy, editors. “Sarah Scudgell Wilkinson.” Orlando: Women’s Writing in the British Isles from the Beginnings to the Present. Cambridge University Press Online, 2006. <http://orlando.cambridge.org/>. Accessed 10 November 2021.
Frank, Frederick S. “Illustrations from Early Gothic Novels.” Gothic Fictions: Prohibition/Transgression, edited by Kenneth Graham. AMS Press, 1989, pp. 270–87.
Hoeveler, Diane Long. “Ruined Abbeys: Justifying Stolen Property and the Crusade against Superstition.” The Gothic Ideology: Religious Hysteria and Anti-Catholicism in British Popular Fiction, 1780–1880, University of Wales Press, 2014, pp. 197–246.
Potter, Franz J., editor. Literary Mushrooms: Tales of Horror and Fiction from the Gothic Chapbooks, 1800–1830. Zittaw Press, 2009.
Wilkinson, Sarah Scudgell. Monkcliffe Abbey, a Tale of the Fifteenth Century. Kaygill Etc., 1805.
Wilkinson, Sarah Scudgell. Monkcliffe Abbey, or, the History of Albert, Elwina and Adeline, to which is added, Lopez and Aranthe, or, The Suicide ; also, the beautiful little tale of the Abbey of Clunedale. James Oram, 1807.
This story written by Mary Anne Radcliffe in 1802 follows a family left destitute after the French Revolution and their quest to start a new life. The only thing in their way is a string of murders.
The Secret Oath
or Blood-Stained Dagger, a Romance is the second story in volume one of The Entertainer. Seven
stories make up the volume, each containing seventy-two pages, except for The
Secret Oath (sixty-eight pages) and Frederic Staun, or the Revenge of Disappointment
(four pages). Each time a new story starts, the page numbers restart, with the
exception of Frederic Staun, or the Revenge of Disappointment, which
continues pagination from the previous story, The Secret Oath, to result
in a total of seventy-two pages. Each story has seventy-two pages
because it matches the method of folding used to bind books at this time. The
volume is bound in brown, acid-splattered leather and has gold lettering of The
Entertainer on the spine. The text block has blue speckles for decoration. The
Entertainer vol. 1 measures 18cm in height, 11cm in width, and 3cm in
In the front cover,
there is a handwritten table of contents and a list of exact duplicates also in
the Sadleir Black Collection. Overall, the pages of the book are in good
condition. All the text in The Secret Oath is readable apart from a
small hole with a diameter of about 0.5cm on page 61, but this does not affect
the overall understanding of the text. The pages inThe Secret Oath
or Blood-Stained Dagger, a Romance and Frederic Staun, or the Revenge of
Disappointment are a slightly darker brown than the rest of the stories.
This discoloration is caused by different types of paper used in the volume.
The pages in The
Secret Oath use a consistent font and single-spaced lines. The margins
differ due to folding techniques. The left-hand pages have side margins of 1cm
while the right-hand pages have side margins of 0.5cm. The top margin for a
page is either 1 or 2 cm. Each page has the title The Secret Oath on the
top. The margin at the bottom of all the pages is 1cm. At the bottom of some
right-hand pages, there are signature marks that indicate how the book should
be folded. They start with “Ii” and end with “Oo3”. On the last page of the
story, the word “Frederic” is present as a catch word for the book maker to
know which story goes next. Frederic Staun, or the Revenge of Disappointment
was added after The Secret Oath to make the section 72 pages for
At the start of The
Secret Oath, there is a title page that reads “The // Secret Oath // or //
Blood-Stained Dagger, // a Romance” with a black and white illustration
of a house in front of the woods. To the left of the title page, there is
another illustration depicting a character reaching for a dagger while looking
at a statue of a woman and her baby. This black and white illustration of a
woman bled on to the title page and can be seen in a faint brown outline.
This edition was
printed by J. H. Hart and published for Tegg and Castleman in London on
November 1, 1802. There is another edition of this chapbook in the University of
Virginia Special Collections Library printed by T. Plummer and published for T.
Hurst in London on November 1, 1802. The chapbook has many existing editions
both in libraries and as online scans. For instance, there is a version in
volume one of the second edition of The Marvelous Magazine published by
The author of The Secret Oath is not present on the title page or frontispiece. However, another chapbook entitled Monkish Mysteries; Or, the Miraculous Escape: Containing the History and the Villanies of the Monk Bertrand; The Detection of His Impious Frauds, and Subsequent Repentance and Retribution includes a printed note that says: “The whole written, adjusted and compiled solely for this work, by Mrs. Mary Anne Radclife, of Wimbledon in Surrey, author of the Secret oath, or blood-stained dagger” (Radcliffe Monkish Mysteries 2). This connects Mary Anne Radclife, usually spelled “Radcliffe,” to the The Secret Oath. There is another book in the University of Virginia Special Collections Library that includes the same note connecting Mary Anne Radcliffe to TheSecret Oath called The Adventures of Capt. Duncan, A Journey From Europe, Over the Arabian Deserts, to the British Settlements in India; : Containing, Among Other Particulars, an Account of the Perils He Experienced in Those Terrific Regions, the Eccentric Humors of His Tartarian Guide, His Shipwreck, and Distresses in the War With Hyder Ally, &C (Radcliffe Adventures 2).
Mary Anne Radcliffe was born in 1746 to James Clayton and Sarah née Bladderwick (Grundy). Her father died when she was four, and she was educated at Bar Convent in York, England. After fourteen years of life, she married Joseph Radcliffe, age thirty-five, in an elopement and had eight children with him throughout their marriage.
Her most known works include The Female Advocate (1799), Radcliffe’s New Novelist Pocket Magazine (1802), and Memoirs… in Familiar Letters to her Female Friend (1810). Some of these works are similar to The Secret Oath in the sense that they are sensationalized stories written for cheap entertainment, but others follow a feminist perspective on life and create arguments about more serious topics such as the shrinking job market for women and the risk of prostitution. Radcliffe was advertised in newspapers as an elegant entertainment writer, and her Radcliffe’s New Novelist’s Pocket Magazine was sold for six-pence at the time of its release (“Advertisements and Newspapers” 4). This magazine, which is more like a collection of stories, includes The Secret Oath. Radcliffe’s New Novelist’s Pocket Magazine was published by Thomas Hurst.
Grundy suggests that Radcliffe requested that her name remain out of some of
her pieces, but that this was not always respected. Specifically, Radcliffe’s
name was put on The Female Advocate despite her wish to remain
anonymous. This connected her to Radcliffe’s New Novelist’s Pocket Magazine and
other chapbooks. Her publisher was also known to switch published works
with a different author’s name to Radcliffe’s name after the first edition of a
book had been published. For example, The Mysterious Baron (1808) was
switched from Eliza Ratcliffe to Mary Anne Radcliffe after its initial print
(Grundy). The reason for these changes is unknown, but it is likely that the
publisher was using the similarities between Radcliffe’s name and the more
famous Ann Radcliffe, author of A Sicilian Romance (1790), to catch the
eye of readers. Another possibility is that Radcliffe used a false name for
some books in order to remain more anonymous.
having eight children and publishing many works focusing on topics from
thrilling murders to the issues of women, Radcliffe died of a health decline in
August of 1818 and is buried in Old Calton cemetery, Edinburgh (Grundy).
Narrative Point of View
The Secret Oath is narrated in third-person past tense. The
narrator is omniscient and never appears as a character in the text. The
narration focuses on characters’ actions and emotions and uses long sentences
separated by commas for each thought. The narrator does not focus on the
setting and does not use descriptive language to describe the environment. The
focus is on the actions of characters in the story and the feelings of each
They entered the old cabriolet, and after a rude journey arrived at Maschere, where they entered an Inn, and a surgeon was sent for to dress the Marquis’s wounds. – He pronounced it impossible to proceed on the journey without endangering his patient’s life ; in consequence of which, the Marchioness hired some apartments at a farm-house, on the road to Caffagiolo, contiguous to his surgeon. De Montfort had mental as well as bodily wounds to struggle with : he con-sidered himself as the murderer of Dorville–he, who had preserved his life, and illuminated the gloom of exile with the balm of friendship. – His daughter also felt a perpetual pang in the reflection that Dorville, whom she esteemed more than any man living, had been slain by her father’s hand ! (33–4)
demonstrates how the narrator focuses on the emotions and actions of each
character over any other aspect of the story. With its third-person point of
view, the narration takes away any bias that a first-person perspective would
have, but this does not take away all of the suspense. Omniscient narration
here gives an insight to all the characters’ feelings and experiences, which
tie into the universal knowledge of the narrator, but some details are left out
throughout the novel to maintain suspense. How a person is feeling is not left
a secret, but their fate is unknown until an action comes to determine it. This
stylistic choice keeps the story mysterious while also providing insight to
each character’s interiority.
A Secret Oath or
Blood-Stained Dagger, a Romance follows an ex-Marquis
named Albert de Montfort, his wife Madame de Montfort, and his daughter Serina.
The book describes how the family is forced to flee from Paris, France in 1792
during the French revolution. After fourteen years of poverty following their
escape, de Montfort accepts an invitation from his deceased father’s godson, M.
Dodier, to stay at his chateau until the family can get back on their feet. De
Montfort is hesitant to accept because M. Dodier received the de Montfort
family fortune after the death of Albert de Montfort’s father, and there is a
lack of trust between the two men. Serina convinces her father to accept the
invitation and the family moves to the chateau. The house is completely empty
except for Aquilina and Orsano Cormazzo, the mysterious caretakers of the
One day, de
Montfort comes home covered in blood after gambling with friends. He claims
that he was trying to save a dying man in the woods. Law enforcement accuses
him of the murder, and they discover evidence in Madame de Montfort and
Serina’s rooms that also connect them to the crime. De Montfort and his family
are taken to prison in a faraway town, but one by one they avoid their sentence
with the help of various people. Serina’s helper saves her under the condition
that she marry Argand, M. Dodier’s son. Next, Madame de Montfort is released
after the murder victim is revealed to have survived. She reunites with Serina
after hearing rumors of her location. De Montfort was the last to be released.
On the way to find his family, the living victim of the attack, Dorville,
offers to help find his wife and daughter because he feels bad that de Montfort
was sent to prison for no reason. De Montfort accepts, and eventually they find
Madame and Serina. De Montfort makes it clear that Serina will not be marrying
Argand because he does not want the man who took his family inheritance to take
his daughter too. M. Dodier kicks the family out of the chateau, and Dorville
offers to let the family stay in his mansion a few cities away.
through France to get to Dorville’s home. Dorville and Serina become close.
While staying in an apartment overnight, Serina wakes to a man in a black mask
holding a dagger above her heart. The masked man realizes he has the wrong
person and claims that if she keeps this visit a secret then her father may
live, but if she says anything he will kill her father and Dorville. Serina
swears the secret oath, and the man gives her an ebony crucifix with the word
“Remember!” carved on the back as a reminder of her promise (21).
After her visit by the mysterious man, Serina
goes to a church to confess. After she divulges her oath, the abbot demands
that she stay in the church for six months to pray in darkness. She has no
escape from her punishment and is brought to a garden to pray. In this garden,
a mysterious man helps her escape. Once the pair is over the wall, there is a
fight between new attackers and Serina’s helper. Serina’s helper reigns
victorious in the fight. However, Serina’s father was planning on saving her
too, and when he sees the man and Serina surrounded by bodies, de Montfort
attacks the man and kills him. Serina sees that her helper was Dorville. She is
extremely sad but must run from the church to avoid another imprisonment.
The family adopts the false name of Berthier to
protect their identity. With the help of an attorney named Cattivo, they
purchase an apartment and stay out of the public eye. Since the family has no
money, de Montfort uses a ring that he won while gambling as payment. Cattivo
takes a liking to Serina and demands her hand in marriage. The family says no,
and Cattivo threatens to blackmail the Berthiers unless Serina marries him.
They still say no, so Cattivo takes de Montfort to court and accuses him of
stealing the ring that was used to pay for the apartment. The ring is found to
belong to a Count Cuculli, a man de Montfort used to gamble with. The count
arrives at court, recognizes de Montfort as the accused “M. Berthier”, and
drops all charges because he trusts de Montfort’s integrity.
After de Montfort is released from jail, he
receives a note that he should go to the count’s mansion. De Montfort runs over
to the mansion and finds his wife and daughter. They tell de Montfort that the
count discovered a plot to hurt Serina. The count decided to keep watch over
their room while de Montfort was in jail awaiting release. Men came and
attacked the two ladies, but the count stabbed one attacker, who was later
revealed to be M. Dodier, and saved the women. Serina and Madame de Montfort
stayed with the count until de Montfort was released. They continue to stay
with the count as a family.
One day, Serina is basking in the sunlight when
Dorville appears and starts talking to her. He rambles about how he is married
to a sickly woman and how he was manipulated by another woman named Maria.
Serina is in near hysterics that he is alive, so they agree to meet the next
day and talk once she has calmed down. The next day, Dorville says that he
never left his home until now, so the man that de Montfort killed in the church
garden was not him. However, during this time, he was forced to marry a sickly
woman even though they did not love each other. Serina is crushed that Dorville
is married, but de Montfort is happy that Dorville is not dead and invites him
to stay with them in the count’s house.
After talking all night about Dorville’s
journey, the two men make connections about the past. During the time de
Montfort thought he was dead, Dorville visited the house of Monsieur Beaulieu,
a wealthy man with a much younger wife named Maria. Dorville was seduced by
Maria and almost fell for her. However, he realized that she only wanted his
money. Maria was known to have many men in her life, one of note being Cattivo.
He confessed that he loved Serina to get out of the relationship. After this
story is told, the men figure out that Maria is the person who is responsible
for the attacks on Serina. Her jealousy has made her vengeful. It is revealed
that she enlisted Cattivo to kill Serina. The men decide to go to the house of
Maria to confront her.
At the house, Dorville learns nothing from Maria. While they talk,
de Montfort witnesses the murder of Monsieur Beaulieu, Maria’s husband. De
Montfort is accused of the murder. Dorville pressures Maria to testify in court
on de Montfort’s behalf, and she agrees. She clears de Montfort’s name and
blames the murder on Cattivo, the attorney who sold the Montfort’s their old
apartment and who is also Maria’s lover. After Monsieur Beaulieu’s death, the
men bring the rest of the Montfort family to the house of Monsieur Beaulieu.
The motive behind some attacks is unclear until M. Dodier shows up to the house
and asks to confess his crimes. He suffers from a stab wound that was inflicted
a few days ago and fears that he will die. He admits that the entire plot to kill
de Montfort was based on revenge because de Montfort said that his son could
not marry Serina. He attempted to kill de Montfort in the woods of the chateau,
but he accidentally attacked Dorville. This left a witness to his crimes, so M.
Dodier tried to eliminate Dorville again, but this time he accidentally went to
Serina’s room. He was the masked man that made her swear the secret oath.
Before M. Dodier could say more, he died of the stab wound the count gave him
while protecting Serina. In the end, Maria tries to flee the country with
Cattivo to avoid imprisonment for her murder plot, but Cattivo murders Maria
because she accused him in the trial of her husband’s death. Serina and
Dorville get married after Dorville’s first wife died of sickness, and the
entire family moved to England in search of financial prosperity.
Grundy, Isobel. “Radcliffe, Mary Ann (b. c. 1746, d. in or after 1810), Writer.” Oxford Dictionary of National Biography, 23 Sept. 2004, https://doi.org/10.1093/ref:odnb/37876. Accessed 4 Nov. 2021.
Radcliffe, Mary Anne. The Adventures of Capt. Duncan, A Journey From Europe, Over the Arabian Deserts, to the British Settlements In India; : Containing, Among Other Particulars, an Account of the Perils He Experienced In Those Terrific Regions, the Eccentric Humors of His Tartarian Guide, His Shipwreck, and Distresses In the War With Hyder Ally, &C. London, T. Hurst, 1802. Nineteenth Century Collections Online, https://search.lib.virginia.edu/sources/uva_library/items/u4351511. Accessed 4 Nov. 2021.
——. Monkish Mysteries; Or, the Miraculous Escape: Containing the History and the Villanies of the Monk Bertrand; :The Detection of His Impious Frauds, and Subsequent Repentance and Retribution. Nottingham, T. Hurst, 1802. Nineteenth Century Collections Online, https://search.lib.virginia.edu/sources/uva_library/items/u4351072. Accessed 4 Nov. 2021.
In this 1811 book by English author George Moore, an envious husband wreaks havoc until finally learning to trust his family and control his passions.
The gothic novel, Tales of the Passions; The Married Man; An
English Tale: In Which is Attempted an Illustration of the Passion of Jealousy
in Its Effects on the Human Mind, was written by English author George
Moore. Its full title stands as such, but either Moore or his publisher
shortened the full title to Tales of the
Passions in certain places within the novel. For example, the first title
page, located after a single blank page at the beginning of the book, simply
uses Tales of the Passions as its
title. The title page also includes the author’s name, written as George Moore,
and publishing information, including the name of the publishers, G. Wilkie and
J. Robinson, and where it was printed in London, which was Paternoster Row. It
also lists the publication date of 1811. This title page is followed by an
uncut page, meaning that for this particular novel the top of the page remains
folded and unbroken. Because large pages were folded to create a bound book, it
was common practice for manufacturers to sell books uncut. This means that the
pages remained folded over at either the top or side of the novel, which made
printing cheaper and thus made novels more affordable to the common consumer.
When readers bought the books, they could either have had the books taken to a
binder who would cleanly cut the novel, or they could cut it themselves, which
is apparently what the reader of this particular copy of the novel did, since this
person never ended up slicing open the page in question.
This uncut page reads “Tale II:
Jealousy” with the word “Jealousy” printed far beneath Tale II and further
separated by a small, floral symbol. This page is also printed in a slightly
more intricate font than the title page. Such a font seems to be suggestive of
handwritten cursive due to the ways the letters curve and flow. Following this
page is the second title page with the novel’s full title. Interestingly, the
font size of different sections of the title change; for example, the “Married
Man” portion of the title is quite large relative to the size of the other
text, but the “In which it is attempted” is quite small. Furthermore, Tales of the Passions is also engraved
in cursive on the spine of the novel below the surname Moore. Two lines also
bracket this combination, separating it from a numerical 2, indicating the
volume number, written several inches further down the spine.
Aside from the pages the reader cut
to consume the novel, it otherwise largely remains unchanged; thus, it is
paper-bound with a plain hard cover and unevenly cut pages such that they stick
out irregularly on the novel’s side. Aside from the ragged nature of the pages,
it appears strikingly similar to the way hardback books look today with their
book jackets removed. The cover is a plain navy blue color with a tan binding,
and both the binding and the cover of the novel are made out of paper. It
should be noted that at the time, books were originally sold simply like this;
not only were the pages sealed at the top or side like aforementioned, but they
were also unevenly cut, as they were thus cheaper to print, causing them to
also be more inexpensive. However, if an individual had enough wealth, he or
she might go to a binder and have the novel rebound in leather and the pages
cut evenly. Neither happened with this copy.
The state of the book is in
relatively good condition. It is largely unmarked save for a couple of light
stains on some of the pages, most of which are inexplicable save for one page
that appears to be stained with what looks like ink splotches. There is also
what appears to be perhaps indirect ink stains or charcoal visible on the
bottom edges of the pages of the novel when the book is closed. Other notable
physical alterations of the book include the presence of a small insect on page
243. It is unknown what species of insect it is without the aid of an
entomologist, but more tantalizing is the consideration of how long it has been
inside the book: whether it was preserved accidentally by the original owners
or trapped in its afterlife in the archive.
The pages themselves are lightly
tanned by age, but do not seem to be exceptionally delicate due to the fact
that the paper the manufacturer used is sturdy and thick. There are no
illustrations throughout the text, and no written comments either; indeed, the
only visible signs of it being read before are the aforementioned stains. The
set of the page includes large amounts of white space and copious margins with
large text set far apart. Thus, while the novel itself is long at around 400
pages, the structure of the print accounts for much of the relative length of
of the Passions was written by
George Moore, published by G. Wilkie and
J. Robinson, and printed by S. Hamilton. The publishers, G. Wilkie and J
Robinson, were involved with a variety of novels, including renditions of
Shakespeare’s plays (Murphy 347–48). There is little information available
about the author, George Moore, which contrasts with the informal, welcoming
tone of his preface, where he directly discusses his reasoning for why he wrote
the novel as well as explaining the different plot choices he decided to keep
in the final version. Moore also included a dedication where he discloses that
he is independent from patrons as well as noting how important independence is
to him on a personal level. Furthermore, he also dedicates the novel to his
mother. It should be noted that in regards to Moore’s own obscurity, there is a
significant confounding variable: a far more famous Irish writer from later in
the nineteenth century shares his name exactly. Thus while many results do
appear when searching for the name George Moore, they all appear to be about
this other writer.
There is some evidence that Tales of the Passions, while never truly
popular at any point of history, received some recognition when it was
initially published. For example, the novel is listed in a British periodical
where new British novel releases were listed for the year, although it is only
listed by name and without summary in a list with hundreds of name-only
releases (“List of New Works” 514). More notably, there are also records of two
articles written in the early nineteenth century that focus on Moore’s work. A
literary journal called Monthly Review reviewed
Tales of the Passion: Jealousy in
1812.The review provides insight
into how Moore’s writing style and plot may have been similarly received by the
general public. The article’s author sums up the way Moore writes perfectly:
“without climbing to the eminences of his profession, he walks much above the
plain of ordinary novelists” (Tay 388). Furthermore, the article goes on to
mention that the story was made too complex by “unintelligible relationships
between subordinate personages,” and that the West Indies plotline was
“improbable, difficult to remember, and not essential to the catastrophe” (Tay 388).
His next section of the review focuses on the lack of realism in Moore’s
flowery prose of the novel, giving the specific example of Osmond’s speech when
he is ill and near death. The reviewer notes how the fact that Osmond’s speech
patterns do not change even then weakens the effect of Osmond’s illness because
sick minds are more “concise” and “abrupt” (Tay 390). The article then argues
that the focus of Felix’s jealousy should have been concentrated on one person,
and that the reader should have been led to believe the wife was cheating as
well to give Felix’s character more moral standing and depth.
There is also another review in Monthly Review about Moore’s Tales of the Passions, but this one
focuses on the first volume of the series, originally published in 1808 and focusing on the passion of revenge. This
reviewer structures his article in a similar way to the review of the second
volume, as both begin by recommending various changes they feel would make the
novel more powerful. Both of the reviews make note of the fact that Joanna
Baillie’s Plays on the Passions
inspired Mooreto write his novel,
but this second review goes into far more depth about the subject. It even goes
so far as to include an entire statement that Moore released regarding the
topic, where he discusses how the idea of focusing a work on various passions
was an engaging one, and how he enjoyed Baillie’s work so much he decided to
write his own “moral tale” about domestic life focused on a single passion (Meri
262). The reviewer then goes on to discuss the plotline of the first volume,
and concludes by noting that while Moore “evidently possesses powers which are
calculated to raise him to distinction in this walk of literature,” his work is
“not polished nor accurate” and he has “palpable violations of grammar and of
propriety” (Meri 266).
Another possible influence for Moore’s writing of the novel comes from a quote he includes in the title page of Tales of the Passions: Jealousy, where he added a section from what he titles as Collins’s “Ode on the Passions,” but in actuality is part of William Collins’s “The Passions: An Ode for Music.”
Exulting, trembling, raging, fainting, Possest beyond the Muse’s painting, By turns they felt the glowing mind, Disturb’d, delighted, raised, refined: ‘Till once, ’tis said, when all were fired, Fill’d with fury, rapt, inspired […] Each, for Madness ruled the hour, Would prove his own expressive power.
Unlike Baillie’s plays, it is
impossible to know precisely how this poem might have inspired the text or
whether Moore decided to include some verses that fit well with his novel’s
thematic purpose and plotline.
Other than the two
nineteenth-century reviews and one mention in a periodical, Moore and his work
are not well-documented on either the Internet or in print form. There are
digital editions of both volumes of Tales
of the Passions available, on Google books. Yet they appear to
have had only one run of publishing in the nineteenth century. The novel also
lacks adaptations to various other forms of media. Combined with the two
reviews that concentrated on the mediocrity of his novels, such a lukewarm
response to Moore’s works have likely contributed to the fact there has been a
near-complete absence of scholarly attention on Tales of the Passions.
Point of View
of the Passions: Jealousy is
narrated in the third person. This third-person narration focuses on the
thoughts and feelings of the main character, Felix Earlvin, hinting at a
third-person limited point of view, although this framework is complicated by
the fact the narrator occasionally also discusses thoughts and events Earvin is
not aware of. Because Earlvin’s mindset is the one that directs the novel the
vast majority of the time, the narration thus hovers between limited and
omniscient third-person narration. Due to the fact that the novel explicitly
explores the idea of jealousy as an emotion, there are many and repetitive
examples of Earlvin thinking about the way he feels and how he is acting, and
the plot and action are often interrupted by these episodes of reverie and
meditation on his actions. The writing style itself often uses simple and
uncomplicated language, but the sentences can be long and complicated by many
phrases, creating runon sentences that can be difficult to follow.
But Onslow heard him not, while Earlvin kneeling, by the side of his wife, pressed his lips to her cold and pallid cheek in silent agony. In a short time two or three persons arrived at the spot, and the driver informed them of the circumstances which had happened. From the appearance of Mrs. Earlvin, they supposed surgical assistance could be of little service, and therefore prepared to secure him who had wounded her, as the first and principal duty incumbent upon them. The instant, however, they attempted to move him, he was roused from a torpid state of suffering to the most violent emotions of anguish and despair. He repelled their efforts with a power and resolution they had much difficulty to overcome. He called on the names of his children and declared himself the murderer of their mother. He entreated, he implored, that he might not be removed from her side and struggled to release himself with convulsive energy. At length he sunk on the ground incapable of farther resistance, and was conveyed to a small house near the road-side, insensible to the vulgar and cruel upbraidings of those by whom he was surrounded. (394)
The narrative style of Tales of the Passions: Jealousy is
interesting in that the writing articulates some complex thematic ideas.
However, the power of Moore’s writing is often undermined through the presence
of seemingly unintentional runon or awkward sentences. Furthermore, the
narrator often repeats his key ideas in the text in the same language every
time, making his central theme seem triter each time he repeats it. As for
Moore’s choice to focus his writing on telling the story from Felix’s
perspective while also occasionally including the thoughts of other characters,
such a framework is convenient because the shifts occur when the narrator needs
to explain a plot point that would otherwise be difficult to explain from
simply Felix’s point of view. Such a method of storytelling is also important
when considering the fact that Tales of
the Passions: Jealousy functions in large part as a mystery, so the shifts
in point of view not only allow the narrator to reveal new information but also
add a flair of dramatic irony.
of the Passions: Jealousy
focuses on an Englishman named Felix Earlvin. Earlvin is a moderately wealthy
nobleman whose kind heart permits him to marry a woman far below his rank.
Nevertheless, his wife, Julia, is extremely well tempered and kind, and for
several years they have lived happily in the countryside with their children.
Felix and Julia’s marriage is generally peaceful, but Felix has one fatal flaw:
he becomes jealous very easily, which, combined with his fear of discussing his
thoughts and secrets with other people, can lead to conflict and chaos. Julia
is aware of this personality trait, but has, up to the point when the novel
starts, been easily able to dispel his jealous fears.
at the beginning of the novel an event occurs that becomes a catalyst for
problems in their marriage. Felix is on his daily evening walk when he hears
his wife’s name. He follows the sound and finds a dilapidated hovel with an old
woman and a well-dressed young man inside. He sees the old woman clearly but
the young man is hidden in shadow. Felix is instantly suspicious, but vows to
return to the hut the next day to talk to the woman alone because he is unarmed
and could not take the man on if it turned into a fight. That night, he shares
dinner with his wife and his neighbor, Mr. Osmond, and Felix is able to largely
act normal until he happens to read an article in the newspaper after dinner
about a couple that was going to get divorced because the wife was unfaithful,
a problem compounded by the fact that the couple has children. Julia, when she
hears of the case, initially says she thinks the wife still deserves pity, but
because of the scene Felix had witnessed in the forest, he has an outburst at
her, which causes his wife to nearly cry and remain quiet and dejected for the
rest of the night. Felix is stressed and starts to feel ill; they are forced to
call Dr. Sulfit. This doctor is greedy and selfish, and throughout the novel he
overcharges characters for his medicine or makes up illnesses in order to
receive more benefits. However, he also often moves the plot along, as he does
in this scene, where he discusses how he saw a finely dressed stranger
wandering around their property on a nice horse, and that this stranger passed
the house several times and then disappeared without speaking to anyone. Felix
then asks the doctor whether he has also seen any old women, a fact that Julia
seems very alarmed by, but the doctor says he has not seen anyone.
Nevertheless, Felix continues to be agitated by what he has seen, and he ends
up traveling back to the hovel after he has fully recovered only to learn from
a neighboring farmer that the hovel had not been lived in for years and it has
thus been demolished a couple days ago.
At this point, the novel transitions
to the backstory of Felix’s grandfather, Abel. Abel had been a poor orphan who
a farmer adopted in order to use him for menial labor, though he was also very
intelligent. Abel grew to admire and desire wealth because the farmer would
regularly favor his children over Abel by giving them all the material goods
they desired while leaving Abel with nothing. When he left the farmer’s abusive
household for London, Abel worked hard to accumulate wealth, and eventually
became an accountant with a sizable income, which, due to the fact Abel loved
money and would never spend it on anything other than necessities, he was able
to amass a sizeable fortune. He also married his employer’s daughter out of
desire to further increase his status. His wife dies within two years, but she
gives him a son that Abel adores because he dreams of passing on his wealth to
his progeny and becoming more officially part of the elite circle. His
father-in-law dies and leaves him substantial sums of money, and he also
becomes increasingly richer from things like trade, speculations, and contracts
with companies. Thus, he raises his son like an aristocrat, sending him to Eton
and Oxford and giving him the best private tutors and education possible.
However, this education does little because his son is naturally unintelligent.
He is also noted to be a nice person, but one easily taken advantage of. This
becomes a problem when Abel’s son goes abroad because he quickly becomes
corrupted and increasingly greedy and prideful. One of Abel’s friends suggests
marriage, a solution also convenient for the friend because he has only
moderate wealth and a daughter of marriageable age. This daughter proves to be
a greedy and controlling person, and she quickly becomes the unofficial leader
of the household, controlling the finances and allowing her husband to be the
laughingstock of their friends. When they give birth to Felix, he becomes his
grandfather’s last hope for passing on his vision of preserving his household’s
name. He teaches Felix to resent his father’s weakness and his mother’s
transgressions, and leads him to fear being in a marriage like his parents’.
Thus, Felix values morality more than wealth, and although Julia’s father, Mr.
Roseville, is an unprincipled, immoral gambler, Julia herself is intelligent
and honorable. They end up courting for two years because Felix wavers over
whether he wants to marry her due to her father’s sinful nature, but when her
father dies, he decides to marry her and they retire to his largest estate,
which is located in the countryside in a little English town called
Back in the present, Felix continues
to be disturbed about the scene he saw in the woods, but he also realizes he is
being cruel to his family. He ends up seeking advice from his neighbor, Osmond,
again. Osmond is raising a teenage girl named Caroline Almond, even though they
are ostensibly not related. She is intelligent and accomplished but he does not
allow her to go very far from him. During their conversation, Osmond hints at
the possibility of Julia duping Felix, and he also discusses how he became celibate
to avoid what he calls “female manners” (60). Several days later, Felix returns
from his walk to find Julia at her desk reading a letter that appears to reduce
her to tears, which reinforces his fears.
The next time the doctor visits, he
tells a story about how Caroline accidentally ended up falling into a lake on
Osmond’s property and was saved by the son of another noble, Sir William. The
son, Herbert William, took her back to the house, but Caroline remained
distressed. Julia asked the doctor if she could see Julia since Osmond is away.
When Julia arrives at the Osmond residence, Osmond has already returned, but he
acts cold to Herbert as well as Caroline, whom he chides for being careless.
Indeed, rather than appearing to be worried, he is irate about the obligation
he now has to pay back to the William family. When Julia queries Caroline about
his behavior, she confesses she wants them to be closer, but she had previously
attempted to close the gap between them and he continued to be apathetic to her.
Herbert is clearly fond of Caroline, but Osmond’s antipathy forces him to leave
quickly. Julia also likes Caroline, and she invites her to the Earlvin
household, but Caroline tells her it is likely impossible for her to visit
because of Osmond’s restrictions upon her.
The next large incident in Felix and
Julia’s life occurs when Herbert visits the household when Felix is there.
After he leaves, Julia innocently praises his virtues to Felix, which causes
Felix to feel lonely and jealous. During a visit with Osmond, Felix learns that
Caroline will be unable to visit because the two are going to London
indefinitely. Osmond also insinuates that Herbert is dangerous and that his
popularity in the village is limited to only women, and that Julia’s virtue
could fall to him. The doctor, who is present to see Caroline, mentions how he
had just seen Herbert going to the Earlvin residence for what Herbert called
“urgent business” (111). Felix becomes furious because it seems to him as
though Julia attempted to get him out of the house to see the young man, who he
views as superior in youth and novelty to him. After Felix leaves, Osmond’s
purpose is also revealed: he lusts after Felix’s wife, but he always believed
it was hopeless because their marriage appeared very resilient. However, one
day he happened upon Felix’s penchant for petty jealousy and now uses it to
attempt to drive them apart so he can have Julia.
Meanwhile, Felix attempts to think
of ways to avoid Herbert and Julia coming in contact with each other. He
finally comes to the conclusion that if he, like Osmond, went to London with
Julia and his children, he could get Julia away from Herbert in the
countryside. Julia is initially wary of this proposal but ultimately agrees to
go. However, when Felix returns from his evening walk, he finds his wife
conversing once again with Herbert. Of course, he is thrown back into complete
disarray. Luckily, Julia realizes Felix’s problem stems from jealousy and she
explains to him that Herbert is loves Caroline and wanted advice from Julia.
This statement nearly causes Felix to confess his jealous fears to her, but he
ends up deciding it would cause her added injury and does not do so.
They begin their travels to London
and end up stopping in a small inn along the way. The inn is small enough it is
difficult to fit Felix’s entire party of servants, and the innkeeper ends up
attempting to kick out a paying customer from the inn. Felix stops him and ends
up talking to the older man, a failed poet named Selville who has endured great
hardship but has become a more moral person because of it. When they arrive in
London, they find Osmond is having a party that evening. The party is difficult
for Felix; he overhears men talking about his wife and becomes increasingly
infuriated. He goes to sit with Julia and implies he wants to leave, but she
appears to be greatly enjoying interacting with everyone. One person in
particular, Mr. Onslow, a wealthy man from West India who Osmond ostensibly
wants Caroline to marry, disturbs Felix with his conduct towards Julia, as the
two act far too friendly for his comfort. Felix becomes ruder and ruder, and
ends up spoiling the atmosphere.
Julia and Felix argue once again
when they return to their London lodgings, but end up forgiving each other until
Julia gets a letter about a masquerade ball from Onslow. Felix tells her she
should not go, and she agrees but stipulates he should go instead, telling him
he should have some fun. Felix is initially compliant but begins to worry why
she might want him gone. During the party, Caroline asks him to set up a
meeting between her and Julia, and he agrees to do so. He is then dragged away
by a person he describes as an “obi woman,” who acts like a seer or magical
being (244). She asks him if he wants his future worries told, and believing
she is in jest, he agrees, and she mysteriously answers with “look to your
wife” (246). Afterwards, he overhears Onslow and this woman arguing. The woman
removes her mask, and Felix recognizes her as the woman he saw in the woods.
When Felix returns to their
accommodations, he is surprised and incensed that Herbert came from the
countryside to meet with Julia. Julia explains he came to see Caroline away
from Osmond. The next day, someone Felix met at Osmond’s party, Mr. Parrot,
also comes to meet with Felix. He had promised to find information about Onslow
for Felix, and he reveals the person Felix saw was Onslow’s mother. She was
briefly romantically involved with Mr. Wellsford, and although he decides not
to marry her he later adopts her son. He moves to Jamaica after inheriting a
plantation. He gets married twice, once to a frivolous woman who leaves him and
takes his first-born daughter away from him, and again to a woman who gives him
another daughter but quickly dies from disease. His second daughter goes to
England to avoid greater illness, but before Wellsford can settle his
plantations and go to England to be with his daughter, he hears word she has
died. His loneliness over his lost children prompts him to adopt Onslow as his
own son. Mr. Parrot also reveals Onslow and Julia had previously met each
other, but yet they had acted like strangers at the party. Indeed, the man the
doctor saw in front of the house and Felix saw inside the hovel was in fact
Onslow, and the two had apparently met while Felix was out. Felix is terrified
and extremely jealous, and while Parrot attempts to reassure him, he is too far
Julia goes to Osmond’s house to see
Caroline, leaving Felix jealous. When Julia arrives, she first meets with Osmond.
During their conversation, Osmond confesses he is wants to enter a relationship
with her. She becomes terrified, and attempts to leave but Osmond stops her.
Osmond accosts her verbally, telling her it is her fault Felix is becoming
abusive because of the fact she had a visitor she did not tell her husband
about even though she knew he would be jealous, implying he knew Onslow visited
her several months prior. Onslow coincidentally arrives and saves Julia. In his
carriage, Julia initially wants to return to Caroline, but Onslow insists they
continue on their way. She also asks to go straight home, but he insists on
riding through a park to aid her recovery of her spirits. Felix, on his way to
Osmond’s place, sees Onslow and Julia in the coach together, which causes his
jealousy to reach new heights. When he talks to Osmond, Osmond convinces him to
go to a tavern instead of returning home, where he would hear the truth about
his intentions from Julia, and also further convinces Felix to hold on to his suspicions
by saying Julia wants to stop the marriage between Caroline and Osmond but not
explaining her reasoning behind it.
The next chapter delves into more
backstory, explaining that Osmond is Wellsford’s second wife’s brother and
thus, in order to execute the will, Onslow had to meet with Osmond, which is
why he went to Monmouthshire in the first place. Onslow also explains that
Wellsford’s first wife eloped with Roseville, who was a ship captain, in order
to leave for England, and that Julia is in actuality Wellsford’s first
daughter. When Onslow explains these circumstances to Osmond upon his visit,
Osmond pretends it is his first time hearing it, even though in actuality he
heard Roseville confess the story on his sickbed. He advises Onslow to meet with
Julia secretly to tell her the truth about her life. He explains this to Onslow
by saying that even though Felix is a good person, he is easily jealous so it
would be better to not let him know about the visit, and that perhaps hearing
about Roseville, who Felix detested, would also inflame his anger. He also asks
that Onslow not let anyone know he is involved because it might cause more
problems. Onslow agrees on both accounts, and lets Julia know by letter he is
coming to visit. Julia sets up the time for when Felix is gone for similar
reasons to the ones Osmond gave. Onslow’s mother was there because she wanted
to receive better clothes from him in order to travel to Bristol, and they
moved into the hovel because the weather turned for the worse, and thus
everything had a logical reason behind it.
On his way to the tavern, Felix
happens upon Selville, the poet he met in the inn on the way to London, and he
is in such great despair he rambles loosely about jealousy and then asks
Selville to accompany him to the tavern. Selville is so worried about Felix he
agrees, but his presence does little to prevent Osmond from convincing a
drunken Felix to vow to leave his wife and challenge Onslow to a duel to the
death. Osmond then returns to the main area of the inn to ask Selville to
deliver Felix’s dueling letter to Onslow, which Selville debates doing. He
ultimately decides to carry it out but to discuss it with Felix in the morning
when he is not intoxicated.
Osmond returns to his London home
questioning whether it was morally correct of him to carry out his plan. When
he arrives at his home, he finds Dr. Sulfit there, who tells him Herbert is in
London in order to see Caroline. Osmond asks his servants to bring Caroline to
him, but he learns she has left for the Earlvin’s household, causing him to
worry that the two will find each other and elope. He thus sends the doctor in
order to find Caroline and bring her back.
Felix continues to obsess over his
impending duel with Onslow, and fetches a pistol and horse to attempt to find
him. He sees a carriage and wonders whether it holds Onslow and Julia, and when
finds that it does, he is furious. Julia is so terrified that there is a man
with a gun she falls against Onslow, which makes Felix even more enraged to the
point he prepares to shoot himself in the temple and commit suicide. However,
Julia looks back upon him, recognizes him, and then appears to recoil,
something that makes him so angry he aims the pistol towards the carriage. His
wife starts to run to him in order to embrace him, but he ends up shooting her
instead and appears to kill her. He instantly is in the agony of remorse and
refuses to leave her body. However, she is not dead and she quickly gets
medical attention. The surgeons call for all people who have medical
experience, and they come across Dr. Sulfit, who explains he is looking for
someone in order to help his friend. During the doctor’s explanation, Onslow
realizes Osmond must have been tricking all of them and he goes with the doctor
in order to find him and challenge him to a duel himself to compensate for the
betrayal. Osmond accepts the duel, but Onslow easily shoots him, although he is
not killed and only badly wounded.
Julia and Osmond slowly recover from
their wounds, while Selville attempts to comfort Felix in his misery over his
violent actions. Osmond, in an attempt to repent his sins, calls Caroline and
Selville to his bedside the next morning to explain his life. He too had a
frivolous, extravagant mother who caused their father to lose his riches and
fortune, and because he was the favorite of his mother, he became a greedy,
weak man. Osmond lived for a time in the Indies close to his wife and her
husband, Wellsford. However, he moved back to England in order to attempt to
gain a larger fortune, which he did by investing Wellsford’s properties. Thus,
when the woman taking care of Wellsford’s second child said a fever had taken
ahold of the girl and would likely kill her, he told Wellsford the girl was
dead both because he did not want his shady dealings discovered, as Wellsford
was unlikely to return to England if his daughter died, and because he thought
she would anyway. However, she did not, and he instead took her in as a weak
form of retribution. Thus, Julia and Caroline are revealed to be in fact
Julia recovers in about a month, and
she forgives Felix for nearly killing her and instead embraces him together
with their children. Felix now feels unworthy of their love, but he slowly
attempts to right his wrongs by treating them correctly for the rest of his
life. Osmond moves to Lisbon to attempt to recover, but he grows continually
weaker, and without anyone who loves him, he dies in only a few months. Herbert
and Caroline get married, which cools Herbert’s passions slightly and makes him
more mature. Felix and Julia stay together and grow old watching their children
grow up. From his transgressions, Felix realizes the importance of his duties
he has to his family, as well as how important it is to control passion in
order to maintain happiness.
“List of New Works.” The British Review, and London Critical
Journal, No. 1 (Jan. 1811): 514.
Meri. “ART. VII. Tales of the Passions; in which is Attempted an Illustration of their Effects on the Human Mind.” Monthly Review, Vol. 57 (Nov. 1808): 262–66.
Moore, George. Tales of the Passions; The Married Man; An English Tale: In Which is
Attempted an Illustration of the Passion of Jealousy in Its Effects on the
Human Mind. London,\ G.
Wilkie and J. Robinson, 1811.
Murphy, Andrew. Shakespeare in Print: A History and Chronology of Shakespeare
Publishing. Cambridge, Cambridge University Press, 2003.
Tay, Jr. “ART. VI. Tales of the
Passion; in which is attempted an Illustration of their Effects on the Human
Mind: each Tale comprized in one Volume, and forming the Subject of a single
Passion.” Monthly Review, Vol.67 (Apr. 1812): 388–90.
In this plagiarized 1810 version of The Old Manor House by Charlotte Smith (1793), Orlando Somerville endures war, poverty, and two transatlantic voyages to be reunited with England, his lover, and a rightful inheritance.
Rayland Hall; or, the Remarkable Adventures of Orlando Somerville was published and printed in February of 1810 by John Arliss and authored by an unknown writer. Bound by paper and string, this 42-page pamphlet sized book makes use of a small close-set type and two-centimeter-wide margins in order to pack a full-length drama into a small number of pages. The top of each page features a double lined header with a shortened title; “Rayland Hall” is centered, while the page number is included in the top right corner. Showing its age at over 200 years old, many of the pages are marked by large spots of discoloration, and even small spots of mold.
The exterior of the book shows similar signs of wear, with no jacket or cover to be found, the paper and string binding is visibly fragmenting. The first page is blank, while its reverse side contains an illustration titled “Rayland Hall Page 10” that depicts a cavalier hurriedly blowing out a candle while another man enters the room and a woman slumps in a nearby chair. This page has become detached from the rest of the volume and is markedly less worn and significantly whiter than the other pages. On the following title page, the full title is listed with the subscript “An Original Story” and an illustration of a man who is prone, bound, and whose head is being scratched by another man lying on top of him. This illustration is captioned “Thank Heaven! the fortunes of my house revive !” and below we find a double lined division followed by “LONDON: PRINTED AND PUBLISHED BY JOHN ARLISS, No. 87, Bartholomew Close.” On the top of this title page, there is a stamped marking that reads “Sophia*” that likely indicated a previous owner’s identity.
Text on the last page of the book ends a third of the way down and there is a final illustration of the exterior of a castle that is framed by an irregular cloud shape. Centered between the illustration and the bottom of the page, FINIS is typed and bolded in a larger font than the rest of the text. The lack of a back cover is congruent with the lack of a front cover, and the final page shows increased wear in relation to the other pages. The publisher, John Arliss, and his printing location are again stated under a dividing line at the bottom right corner of the final page.
The dimensions of the book are truly pamphlet sized, being only 18 x 11 centimeters. Every page save the first detached page has a similar faded white color and seven major splotches that are in the same position on each page. These major discolorations are joined by many smaller slightly darker spots. Texturally, the book is uniform in its extreme softness. Pages vary slightly in width, allowing for easy page turning. Overall, this volume shows its age but is without any major rips, tears, or any other major damage besides the first page which is detached from the rest.
Rayland Hall; or, the Remarkable Adventures of Orlando Somerville is a chapbook published in 1810 by John Arliss. There is no author listed for this work, and with good reason. Rayland Hall is a plagiarized and condensed account of Charlotte Smith’s four-volume novel The Old Manor House, published in 1793. Charlotte Turner Smith was a renowned female poet and novelist, and The Old Manor House was considered her most well-received work. Rayland Hall features many of the same plot points as The Old Manor House, but does differ in some ways, including the name of the main female character, who is named Juliana in Rayland Hall and named Monomia in The Old Manor House. Ironically, the phrase “AN ORIGINAL STORY” is printed on the title page of the chapbook. Because of the very short form of the 42-page chapbook, many details of The Old Manor House are omitted from Rayland Hall, but the broad strokes of Orlando’s romantic struggle, capture in America, and subsequent victorious return are matched in both works.
The chapbook lacks a preface, introduction, or any further information on how it came to be. Additionally, when researching Rayland Hall, one finds that every digital mention of Rayland Hall is derived from the context of the original work by Charlotte Smith. One name of someone responsible for creating this book does appear: that of the printer and publisher John Arliss. This edition of the chapbook provides the address of his printing shop, located in the Wandsworth neighborhood of London. From what can be surmised based on relevant early nineteenth-century literary databases, Arliss was a prolific publisher who printed many chapbooks and novels. It remains unclear what role Arliss had in the work itself, but he does remain as the sole credited person for this chapbook.
There exists another truncated version of The Old Manor House published in 2006: a 104-page version also titled Rayland Hall; or, the Remarkable Adventures of Orlando Somerville, edited by Ina Ferris, professor emeritus at the University of Ottawa who has also edited a full-length edition of Smith’s original The Old Manor House. This 2006 version is notably longer than the chapbook, which stands at only thirty-six pages of story, but is unfortunately out of print; it remains unclear the precise relationship between the plagiarized 1810 Rayland Hall chapbook and the newer longer 2006 Rayland Hall.
Narrative Point of View
Rayland Hall; or, the Remarkable Adventures of Orlando Somerville is narrated in the third person by an unnamed and extratextual narrator. The narration is succinct and to the point, and pertinent facts are simply stated for the reader. The narration easily spans a gulf of time and space to allow for the important plot points to be reached in a timely manner. This narrator does not make the reader privy to characters’ inner feelings and thoughts. The text does include some quotations from characters, but overall the plot is advanced through statements made by the narrator.
The Fluer de Lys, having received her dispatches from the Count d’Estang, proceeded with a fair wing, and in six weeks Orlando landed at Brest. The Chevalier behaved to him as a brother. He was obliged to go immediately to Paris, but he placed Orlando in the house of a merchant, whom he commissioned to supply him with every thing he wanted, and then took leave of his interesting captive, having first procured him a proper passport, giving him a certificate, and taking his parole. Orlando staid but a few days at Brest, and then set out by the diligence for St. Malo, where he was told he might get a conveyance for Guernsey or Jersey. In this he was disappointed, and he journeyed along the coast to Havre; it was almost the end of October, when he engaged a large fishing smack to land him at Southampton, and open communication between the two countries being denied; and this was done at a price that obliged him not only to give up all the ready money he possessed, but also the wardrobe he had obtained at Brest, and he landed with one shirt in his hand, and two pieces of twelve souns in his pocket. With great difficulty from want of money, and fatigue of body, he at length from want of money, and fatigue of body, he at length gained sight of the grey turrets of Rayland Hall. (23)
The narration serves the primary purpose of advancing the plot. There is little attention paid to esoteric motivations and the character development is quite shallow. This leaves the bulk of the work of advancing the plot lines to the narrator. This very explicit style of storytelling makes narrative jumps over space and time smoother and easier, and removes some of the complexity of being able to see into characters’ heads. This chapbook is only forty-two pages, after all, so the events of more than two years clearly need to be condensed greatly, and this simple and straightforward narrative style aids in conveying the plot relatively quickly.
Rayland Hall tells the story of forbidden romance between second cousins. Rayland Hall, a great mansion in southern England is occupied by a single heiress (Mrs. Rayland), her housekeepers, and her deceased sister’s daughter, Juliana. Down the road lives Mr. Somerville who is a cousin of Mrs. Rayland, but whose family had fallen out of favor after Mr. Somerville’s father married a woman living with the Raylands, and thus producing Orlando. Orlando is favored by Mrs. Rayland, and is rumored to be a candidate for her heir, as she has no children.
The narrative of the book opens on Orlando and Juliana going into town (a rare venture for Juliana) on a set of errands. As they stride through town, a rude cavalier by the name of John Blargrave makes some advance with Juliana and is rebuffed by Orlando. John being of high status takes much insult and challenges Orlando to a duel the next day. After the business in town, it is revealed that Orlando and Juliana have been conducting an affair by way of secret passage into Juliana’s tower. That evening Orlando visits Juliana, and they are disturbed by an unknown person peeking into Juliana’s room; Orlando pursues the interloper but is not able to apprehend them.
The fate of Orlando is quickly decided for him by his father: an old acquaintance of his, General Tracey, makes arrangements for Orlando to be shipped off to suppress rebellion in the American colonies rather than face a dangerous duel. Before being sent off, Orlando makes a secret visit to Juliana in her tower where he discovers a smuggler who has been working around Rayland Hall, and is the one who was seen peeping on Juliana and Orlando. They agree to keep each other’s secrets and make a pact of friendship, so that the smuggler may deliver a letter to Juliana.
On his arrival in America, Orlando is quickly captured by an indigenous band of fighters, and comes to be their friend as they spend the winter together in the wilderness trapping. Eventually, he is able to convince them of biding his release, he goes to Canada and is afforded proper station as a British officer, and placed on a ship set for England. Orlando’s ship is captured, and he only makes his way back to Rayland Hall by way of a long and difficult detour through France. Upon arriving at Rayland Hall two years after the events previously described, he finds the manor is in decrepit condition.
Orlando inquires about town and is deemed insane by most he meets, as all assumed him dead overseas after such a long absence of correspondence. He comes to learn that Mrs. Rayland has died and her estate was willed to a Dr. Hollyburn. After questioning the family attorney, he learns of his family’s new location and of the death of his father. Upon seeing his family, he is acquainted with the unsuccessful attempt that his older brother, Phillip, made to sue for Rayland Hall, as most assumed the dead Orlando to be the successor. This suit was unsuccessful, but an attorney advises Orlando to pursue it further.
Orlando learns that Juliana is in the care of a family in Hampshire. This is also the location of the wife of a fallen comrade of Orlando, so he decides to make the trip to investigate. He finds that Juliana is in the care of this very family, and warm feelings are traded between them. Desirous of an immediate marriage, they must first obtain the permission of Juliana’s aunt, as Juliana is underage.
After securing this permission, the aunt then informs Orlando of an alternate will that is hidden within Rayland Hall. Orlando obtains this will and his rights of ownership over Rayland Hall are restored. He and Juliana marry and live a happy life with Orlando Jr.
Rayland Hall; or, The Remarkable Adventures of Orlando Somerville. London, John Arliss, 1810.
Rayland Hall; or, The Remarkable Adventures of Orlando Somerville, edited by Ina Ferris. Zittaw Press, 2006.
Smith, Charlotte. The Old Manor House. London, F. C. and J. Rivington, 1793.