The Mysteries of Udolpho Study Guide
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Volume IV, Chapter XV

Chapter Summary

Lady Blanche arrives at La Vallée, reviving Emily's spirits, and after a brief stay the party departs for Château-le-Blanc in Languedoc. There Emily finds M. Du Pont already present; Count De Villefort presses his friend's suit once more, but Emily firmly, if silently, refuses. Wandering pensively afterward, she strays to the monastery of St. Clair, where she learns that the troubled Sister Agnes is dying in a state of profound spiritual despair, her horrors having given way to impenetrable gloom.

Emily leaves the monastery without seeing Agnes and returns across the cliffs toward the château as night falls. Pausing on a cliff above the sea, she listens to the wind and composes—or meditates upon—a verse address, "To the Winds," in which she invokes the elemental powers, mourns the sailors they destroy, and asks only for the sublime emotion of solitary, imaginative weeping rather than the spectacle of death.

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Original Text
Sweet is the breath of vernal shower, The bees’ collected treasures sweet, Sweet music’s melting fall, but sweeter yet The still, small voice of gratitude. GRAY On the following day, the arrival of her friend revived the drooping Emily, and La Vallée became once more the scene of social kindness and of elegant hospitality. Illness and the terror she had suffered had stolen from Blanche much of her sprightliness, but all her affectionate simplicity remained, and, though she appeared less blooming, she was not less engaging than before. The unfortunate adventure on the Pyrenees had made the Count very anxious to reach home, and, after little more than a week’s stay at La Vallée, Emily prepared to set out with her friends for Languedoc, assigning the care of her house, during her absence, to Theresa. On the evening, preceding her departure, this old servant brought again the ring of Valancourt, and, with tears, entreated her mistress to receive it, for that she had neither seen, nor heard of M. Valancourt, since the night when he delivered it to her. As she said this, her countenance expressed more alarm, than she dared to utter; but Emily, checking her own propensity to fear, considered, that he had probably returned to the residence of his brother, and, again refusing to accept the ring, bade Theresa preserve it, till she saw him, which, with extreme reluctance, she promised to do. On the following day, Count De Villefort, with Emily and the Lady Blanche, left La Vallée, and, on the ensuing evening, arrived at the Château-le-Blanc, where the Countess, Henri, and M. Du Pont, whom Emily was surprised to find there, received them with much joy and congratulation. She was concerned to observe, that the Count still encouraged the hopes of his friend, whose countenance declared, that his affection had suffered no abatement from absence; and was much distressed, when, on the second evening after her arrival, the Count, having withdrawn her from the Lady Blanche, with whom she was walking, renewed the subject of M. Du Pont’s hopes. The mildness, with which she listened to his intercessions at first, deceiving him, as to her sentiments, he began to believe, that, her affection for Valancourt being overcome, she was, at length, disposed to think favourably of M. Du Pont; and, when she afterwards convinced him of his mistake, he ventured, in the earnestness of his wish to promote what he considered to be the happiness of two persons, whom he so much esteemed, gently to remonstrate with her, on thus suffering an ill-placed affection to poison the happiness of her most valuable years. Observing her silence and the deep dejection of her countenance, he concluded with saying, “I will not say more now, but I will still believe, my dear Mademoiselle St. Aubert, that you will not always reject a person, so truly estimable as my friend Du Pont.” He spared her the pain of replying, by leaving her; and she strolled on, somewhat displeased with the Count for having persevered to plead for a suit, which she had repeatedly rejected, and lost amidst the melancholy recollections, which this topic had revived, till she had insensibly reached the borders of the woods, that screened the monastery of St. Clair, when, perceiving how far she had wandered, she determined to extend her walk a little farther, and to enquire about the abbess and some of her friends among the nuns. Though the evening was now drawing to a close, she accepted the invitation of the friar, who opened the gate, and, anxious to meet some of her old acquaintances, proceeded towards the convent parlour. As she crossed the lawn, that sloped from the front of the monastery towards the sea, she was struck with the picture of repose, exhibited by some monks, sitting in the cloisters, which extended under the brow of the woods, that crowned this eminence; where, as they meditated, at this twilight hour, holy subjects, they sometimes suffered their attention to be relieved by the scene before them, nor thought it profane to look at nature, now that it had exchanged the brilliant colours of day for the sober hue of evening. Before the cloisters, however, spread an ancient chesnut, whose ample branches were designed to screen the full magnificence of a scene, that might tempt the wish to worldly pleasures; but still, beneath the dark and spreading foliage, gleamed a wide extent of ocean, and many a passing sail; while, to the right and left, thick woods were seen stretching along the winding shores. So much as this had been admitted, perhaps, to give to the secluded votary an image of the dangers and vicissitudes of life, and to console him, now that he had renounced its pleasures, by the certainty of having escaped its evils. As Emily walked pensively along, considering how much suffering she might have escaped, had she become a votaress of the order, and remained in this retirement from the time of her father’s death, the vesper-bell struck up, and the monks retired slowly toward the chapel, while she, pursuing her way, entered the great hall, where an unusual silence seemed to reign. The parlour too, which opened from it, she found vacant, but, as the evening bell was sounding, she believed the nuns had withdrawn into the chapel, and sat down to rest, for a moment, before she returned to the château, where, however, the increasing gloom made her now anxious to be. Not many minutes had elapsed, before a nun, entering in haste, enquired for the abbess, and was retiring, without recollecting Emily, when she made herself known, and then learned, that a mass was going to be performed for the soul of sister Agnes, who had been declining, for some time, and who was now believed to be dying. Of her sufferings the sister gave a melancholy account, and of the horrors, into which she had frequently started, but which had now yielded to a dejection so gloomy, that neither the prayers, in which she was joined by the sisterhood, nor the assurances of her confessor, had power to recall her from it, or to cheer her mind even with a momentary gleam of comfort. To this relation Emily listened with extreme concern, and, recollecting the frenzied manners and the expressions of horror, which she had herself witnessed of Agnes, together with the history, that sister Frances had communicated, her compassion was heightened to a very painful degree. As the evening was already far advanced, Emily did not now desire to see her, or to join in the mass, and, after leaving many kind remembrances with the nun, for her old friends, she quitted the monastery, and returned over the cliffs towards the château, meditating upon what she had just heard, till, at length she forced her mind upon less interesting subjects. The wind was high, and as she drew near the château, she often paused to listen to its awful sound, as it swept over the billows, that beat below, or groaned along the surrounding woods; and, while she rested on a cliff at a short distance from the château, and looked upon the wide waters, seen dimly beneath the last shade of twilight, she thought of the following address: TO THE WINDS Viewless, through heaven’s vast vault your course ye steer, Unknown from whence ye come, or whither go! Mysterious pow’rs! I hear ye murmur low, Till swells your loud gust on my startled ear, And, awful! seems to say—some God is near! I love to list your midnight voices float In the dread storm, that o’er the ocean rolls, And, while their charm the angry wave controls, Mix with its sullen roar, and sink remote. Then, rising in the pause, a sweeter note, The dirge of spirits, who your deeds bewail, A sweeter note oft swells while sleeps the gale! But soon, ye sightless pow’rs! your rest is o’er, Solemn and slow, ye rise upon the air, Speak in the shrouds, and bid the sea-boy fear, And the faint-warbled dirge—is heard no more! Oh! then I deprecate your awful reign! The loud lament yet bear not on your breath! Bear not the crash of bark far on the main, Bear not the cry of men, who cry in vain, The crew’s dread chorus sinking into death! Oh! give not these, ye pow’rs! I ask alone, As rapt I climb these dark romantic steeps, The elemental war, the billow’s moan; I ask the still, sweet tear, that listening Fancy weeps!
Source text: Project Gutenberg #3268. Public domain worldwide.
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This chapter enacts a careful movement from the social world of courtship and obligation toward the solitary, contemplative space that defines Emily's deepest identity. The Count's renewed intercession on behalf of Du Pont frames the chapter's opening tension: Emily's silence and deep dejection are not passive but communicative, a refusal to perform the cheerful compliance society demands of women. Radcliffe uses the Count's well-meaning but persistent pressure to dramatise the conflict between female autonomy and patriarchal benevolence, showing how even sympathetic male authority can become coercive when it presumes to know a woman's happiness better than she does.

The monastery of St. Clair functions as a threshold space—neither fully worldly nor fully withdrawn—and Emily's contemplation of whether she might have escaped suffering by becoming a votaress raises the novel's recurring question about the relationship between enclosure and safety. The monks beneath the chestnut tree, permitted only a screened glimpse of the ocean, literalise the Gothic tension between sublime exposure and protective retreat. The dying Sister Agnes, whose horrors have collapsed into a "gloomy dejection" impervious to prayer, echoes Emily's own past terror at Udolpho and suggests that unresolved guilt or trauma cannot be contained by institutional religion alone.

The chapter's climax is the embedded poem "To the Winds," which performs the Burkean sublime in miniature. The winds are apostrophised as "Viewless" and "Mysterious pow'rs," their invisibility making them analogous to the hidden forces—fate, passion, social constraint—that have governed Emily's life. The poem moves from awe to intercession: Emily does not ask to be spared the elemental war but asks only that it not carry the sounds of human death. This distinction is crucial; she desires the aesthetic frisson of the sublime without its moral horror, a negotiation that Radcliffe herself performs throughout the novel by withholding truly catastrophic violence.

Radcliffe's prose style in the descriptive passages—the cloisters at twilight, the ancient chestnut, the "wide extent of ocean"—employs picturesque composition, arranging landscape elements as a painter would, with foreground, middle distance, and a luminous horizon. This technique does more than decorate: it externalises Emily's emotional state, so that the "sober hue of evening" replacing the "brilliant colours of day" mirrors her own subdued but unextinguished feeling. The vesper bell that interrupts her reverie is a further instance of Radcliffe's use of auditory motifs to mark transitions between psychological registers.

The epigraph from Gray's "Ode for Music" — "The still, small voice of gratitude" — is quietly ironic in context. Gratitude is precisely what Emily cannot perform toward Du Pont, and the chapter's emotional texture is one of suppressed grief rather than thankfulness. By closing with the poem's final petition for "the still, sweet tear, that listening Fancy weeps," Radcliffe aligns Emily's sensibility with the cult of feeling and positions imaginative, solitary emotion as both a refuge from and a compensation for the social pressures the chapter has dramatised.

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✎ Mr. Shifflett's Note
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