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Volume IV, Chapter II

Chapter Summary

Valancourt, tormented by remorse and despair after Emily's letter, arrives for a final interview hoping his pleadings might reverse her decision. The Count, fearing Emily's resolve will weaken, reinforces her determination before the meeting. When Valancourt and Emily meet, he alternates between lamentation, self-reproach, and entreaty, yet ultimately resigns himself to the separation, acknowledging that his own folly has ruined him and that clinging to her would be selfish villainy.

The farewell is prolonged and agonising: both weep, Valancourt repeatedly seizes and releases Emily's hand, and he struggles to master convulsive grief before finally quitting the room. Emily is left alone, barely able to breathe from the pain, listening to his footsteps fade across the hall. Only the Countess's voice in the garden rouses her, and the sight of Valancourt's empty chair releases a fresh flood of tears before she can compose herself enough to leave.

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Original Text
Come, weep with me;—past hope, past cure, past help! ROMEO AND JULIET Valancourt, meanwhile, suffered the tortures of remorse and despair. The sight of Emily had renewed all the ardour, with which he first loved her, and which had suffered a temporary abatement from absence and the passing scenes of busy life. When, on the receipt of her letter, he set out for Languedoc, he then knew, that his own folly had involved him in ruin, and it was no part of his design to conceal this from her. But he lamented only the delay which his ill-conduct must give to their marriage, and did not foresee, that the information could induce her to break their connection for ever. While the prospect of this separation overwhelmed his mind, before stung with self-reproach, he awaited their second interview, in a state little short of distraction, yet was still inclined to hope, that his pleadings might prevail upon her not to exact it. In the morning, he sent to know at what hour she would see him; and his note arrived, when she was with the Count, who had sought an opportunity of again conversing with her of Valancourt; for he perceived the extreme distress of her mind, and feared, more than ever, that her fortitude would desert her. Emily having dismissed the messenger, the Count returned to the subject of their late conversation, urging his fear of Valancourt’s entreaties, and again pointing out to her the lengthened misery, that must ensue, if she should refuse to encounter some present uneasiness. His repeated arguments could, indeed, alone have protected her from the affection she still felt for Valancourt, and she resolved to be governed by them. The hour of interview, at length, arrived. Emily went to it, at least, with composure of manner, but Valancourt was so much agitated, that he could not speak, for several minutes, and his first words were alternately those of lamentation, entreaty, and self-reproach. Afterward, he said, “Emily, I have loved you—I do love you, better than my life; but I am ruined by my own conduct. Yet I would seek to entangle you in a connection, that must be miserable for you, rather than subject myself to the punishment, which is my due, the loss of you. I am a wretch, but I will be a villain no longer.—I will not endeavour to shake your resolution by the pleadings of a selfish passion. I resign you, Emily, and will endeavour to find consolation in considering, that, though I am miserable, you, at least, may be happy. The merit of the sacrifice is, indeed, not my own, for I should never have attained strength of mind to surrender you, if your prudence had not demanded it.” He paused a moment, while Emily attempted to conceal the tears, which came to her eyes. She would have said, “You speak now, as you were wont to do,” but she checked herself.—“Forgive me, Emily,” said he, “all the sufferings I have occasioned you, and, sometimes, when you think of the wretched Valancourt, remember, that his only consolation would be to believe, that you are no longer unhappy by his folly.” The tears now fell fast upon her cheek, and he was relapsing into the frenzy of despair, when Emily endeavoured to recall her fortitude and to terminate an interview, which only seemed to increase the distress of both. Perceiving her tears and that she was rising to go, Valancourt struggled, once more, to overcome his own feelings and to sooth hers. “The remembrance of this sorrow,” said he, “shall in future be my protection. O! never again will example, or temptation have power to seduce me to evil, exalted as I shall be by the recollection of your grief for me.” Emily was somewhat comforted by this assurance. “We are now parting for ever,” said she; “but, if my happiness is dear to you, you will always remember, that nothing can contribute to it more, than to believe, that you have recovered your own esteem.” Valancourt took her hand;—his eyes were covered with tears, and the farewell he would have spoken was lost in sighs. After a few moments, Emily said, with difficulty and emotion, “Farewell, Valancourt, may you be happy!” She repeated her “farewell,” and attempted to withdraw her hand, but he still held it and bathed it with his tears. “Why prolong these moments?” said Emily, in a voice scarcely audible, “they are too painful to us both.” “This is too—too much,” exclaimed Valancourt, resigning her hand and throwing himself into a chair, where he covered his face with his hands and was overcome, for some moments, by convulsive sighs. After a long pause, during which Emily wept in silence, and Valancourt seemed struggling with his grief, she again rose to take leave of him. Then, endeavouring to recover his composure, “I am again afflicting you,” said he, “but let the anguish I suffer plead for me.” He then added, in a solemn voice, which frequently trembled with the agitation of his heart, “Farewell, Emily, you will always be the only object of my tenderness. Sometimes you will think of the unhappy Valancourt, and it will be with pity, though it may not be with esteem. O! what is the whole world to me, without you—without your esteem!” He checked himself—“I am falling again into the error I have just lamented. I must not intrude longer upon your patience, or I shall relapse into despair.” He once more bade Emily adieu, pressed her hand to his lips, looked at her, for the last time, and hurried out of the room. Emily remained in the chair, where he had left her, oppressed with a pain at her heart, which scarcely permitted her to breathe, and listening to his departing steps, sinking fainter and fainter, as he crossed the hall. She was, at length, roused by the voice of the Countess in the garden, and, her attention being then awakened, the first object, which struck her sight, was the vacant chair, where Valancourt had sat. The tears, which had been, for some time, repressed by the kind of astonishment, that followed his departure, now came to her relief, and she was, at length, sufficiently composed to return to her own room.
Source text: Project Gutenberg #3268. Public domain worldwide.
Modern English
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This chapter is structured as a formal farewell scene, a set piece Radcliffe shapes with almost theatrical precision. The epigraph from Romeo and Juliet—"past hope, past cure, past help"—frames the encounter as tragic inevitability, aligning the lovers with Shakespeare's doomed pair while signalling that no deus ex machina will intervene. Radcliffe uses this allusion not merely for pathos but to elevate the Gothic domestic drama to the register of canonical tragedy, lending Valancourt and Emily a literary dignity that their social predicament might otherwise deny them.

Valancourt's speech enacts a striking moral reformation in real time. His declaration—"I am a wretch, but I will be a villain no longer"—marks the pivot from self-pity to self-mastery, and Radcliffe carefully distinguishes between the two by having him acknowledge that the credit for his restraint belongs to Emily's prudence rather than his own virtue. This qualification is psychologically acute: it preserves his sympathy without whitewashing his failures, and it positions Emily as a moral exemplar whose influence operates even in absence, a central tenet of Radcliffe's sentimental ethics.

The chapter's pacing is governed by repetition and deferral. Emily rises to leave multiple times; Valancourt repeatedly seizes her hand, releases it, and relapses into grief. This oscillating structure mimics the emotional rhythm of genuine parting—the inability of feeling to honour the decisions of reason—and creates suspense about whether resolution will hold. Radcliffe's prose slows almost to stillness at each attempted farewell, using long subordinate clauses and participial phrases to enact the drag of emotion against will.

The body as emotional register is pervasive: tears fall "fast upon her cheek," Valancourt is "overcome by convulsive sighs," Emily feels "a pain at her heart, which scarcely permitted her to breathe." Radcliffe's somatic vocabulary is characteristic of the culture of sensibility, in which the capacity for intense physical feeling signals moral refinement. Yet the chapter also tests sensibility's limits: too much feeling threatens to undo the rational decision both characters have reached, and the narrative valorises the effort to contain rather than simply express emotion.

The closing image—Emily staring at Valancourt's vacant chair—is one of Radcliffe's most economical symbols. The chair literalises absence; it is the space where presence was and is no longer. Emily's tears, repressed during the interview by the "kind of astonishment" that follows shock, are finally released by this object, suggesting that grief requires a concrete anchor before it can be processed. The Countess's voice from the garden, representing the social world that continues indifferently, provides the external prompt that recalls Emily to herself—a quiet reminder that Gothic interiority must eventually yield to communal life.

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✎ Mr. Shifflett's Note
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