The Mysteries of Udolpho Study Guide
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Volume I, Chapter IX

Chapter Summary

After St. Aubert's death, Emily returns to La Vallée and receives a letter from her aunt Madame Cheron, who claims guardianship and invites her to Toulouse. Emily begs to remain in her beloved home, finding comfort in quiet retirement, in conversations with the mourning Monsieur Barreaux, and in the gradual resumption of reading, music, and benevolent activity. She reflects on how her father's careful education now sustains her against indolence and grief.

Seeking deeper solace, Emily visits the family fishing-house alone at twilight, only to be startled by a stranger who proves to be Valancourt. The two share a wordless, tearful reunion in which he learns of St. Aubert's death. He walks her home, announces his departure the next morning, and she grants him a farewell visit. That evening Emily recalls her father's dying command to destroy his manuscript papers and resolves to obey it at last.

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Original Text
Can Music’s voice, can Beauty’s eye, Can Painting’s glowing hand supply A charm so suited to my mind, As blows this hollow gust of wind? As drops this little weeping rill, Soft tinkling down the moss-grown hill; While, through the west, where sinks the crimson day, Meek Twilight slowly sails, and waves her banners grey? MASON Emily, some time after her return to La Vallée, received letters from her aunt, Madame Cheron, in which, after some common-place condolement and advice, she invited her to Thoulouse, and added, that, as her late brother had entrusted Emily’s _education_ to her, she should consider herself bound to overlook her conduct. Emily, at this time, wished only to remain at La Vallée, in the scenes of her early happiness, now rendered infinitely dear to her, as the late residence of those, whom she had lost for ever, where she could weep unobserved, retrace their steps, and remember each minute particular of their manners. But she was equally anxious to avoid the displeasure of Madame Cheron. Though her affection would not suffer her to question, even a moment, the propriety of St. Aubert’s conduct in appointing Madame Cheron for her guardian, she was sensible, that this step had made her happiness depend, in a great degree, on the humour of her aunt. In her reply, she begged permission to remain, at present, at La Vallée, mentioning the extreme dejection of her spirits, and the necessity she felt for quiet and retirement to restore them. These she knew were not to be found at Madame Cheron’s, whose inclinations led her into a life of dissipation, which her ample fortune encouraged; and, having given her answer, she felt somewhat more at ease. In the first days of her affliction, she was visited by Monsieur Barreaux, a sincere mourner for St. Aubert. “I may well lament my friend,” said he, “for I shall never meet with his resemblance. If I could have found such a man in what is called society, I should not have left it.” M. Barreaux’s admiration of her father endeared him extremely to Emily, whose heart found almost its first relief in conversing of her parents, with a man, whom she so much revered, and who, though with such an ungracious appearance, possessed to much goodness of heart and delicacy of mind. Several weeks passed away in quiet retirement, and Emily’s affliction began to soften into melancholy. She could bear to read the books she had before read with her father; to sit in his chair in the library—to watch the flowers his hand had planted—to awaken the tones of that instrument his fingers had pressed, and sometimes even to play his favourite air. When her mind had recovered from the first shock of affliction, perceiving the danger of yielding to indolence, and that activity alone could restore its tone, she scrupulously endeavoured to pass all her hours in employment. And it was now that she understood the full value of the education she had received from St. Aubert, for in cultivating her understanding he had secured her an asylum from indolence, without recourse to dissipation, and rich and varied amusement and information, independent of the society, from which her situation secluded her. Nor were the good effects of this education confined to selfish advantages, since, St. Aubert having nourished every amiable quality of her heart, it now expanded in benevolence to all around her, and taught her, when she could not remove the misfortunes of others, at least to soften them by sympathy and tenderness;—a benevolence that taught her to feel for all, that could suffer. Madame Cheron returned no answer to Emily’s letter, who began to hope, that she should be permitted to remain some time longer in her retirement, and her mind had now so far recovered its strength, that she ventured to view the scenes, which most powerfully recalled the images of past times. Among these was the fishing-house; and, to indulge still more the affectionate melancholy of the visit, she took thither her lute, that she might again hear there the tones, to which St. Aubert and her mother had so often delighted to listen. She went alone, and at that still hour of the evening which is so soothing to fancy and to grief. The last time she had been here she was in company with Monsieur and Madame St. Aubert, a few days preceding that, on which the latter was seized with a fatal illness. Now, when Emily again entered the woods, that surrounded the building, they awakened so forcibly the memory of former times, that her resolution yielded for a moment to excess of grief. She stopped, leaned for support against a tree, and wept for some minutes, before she had recovered herself sufficiently to proceed. The little path, that led to the building, was overgrown with grass and the flowers which St. Aubert had scattered carelessly along the border were almost choked with weeds—the tall thistle—the fox-glove, and the nettle. She often paused to look on the desolate spot, now so silent and forsaken, and when, with a trembling hand, she opened the door of the fishing-house, “Ah!” said she, “everything—everything remains as when I left it last—left it with those who never must return!” She went to a window, that overhung the rivulet, and, leaning over it, with her eyes fixed on the current, was soon lost in melancholy reverie. The lute she had brought lay forgotten beside her; the mournful sighing of the breeze, as it waved the high pines above, and its softer whispers among the osiers, that bowed upon the banks below, was a kind of music more in unison with her feelings. It did not vibrate on the chords of unhappy memory, but was soothing to the heart as the voice of Pity. She continued to muse, unconscious of the gloom of evening, and that the sun’s last light trembled on the heights above, and would probably have remained so much longer, if a sudden footstep, without the building, had not alarmed her attention, and first made her recollect that she was unprotected. In the next moment, a door opened, and a stranger appeared, who stopped on perceiving Emily, and then began to apologise for his intrusion. But Emily, at the sound of his voice, lost her fear in a stronger emotion: its tones were familiar to her ear, and, though she could not readily distinguish through the dusk the features of the person who spoke, she felt a remembrance too strong to be distrusted. He repeated his apology, and Emily then said something in reply, when the stranger eagerly advancing, exclaimed, “Good God! can it be—surely I am not mistaken—ma’amselle St. Aubert?—is it not?” “It is indeed,” said Emily, who was confirmed in her first conjecture, for she now distinguished the countenance of Valancourt, lighted up with still more than its usual animation. A thousand painful recollections crowded to her mind, and the effort, which she made to support herself, only served to increase her agitation. Valancourt, meanwhile, having enquired anxiously after her health, and expressed his hopes, that M. St. Aubert had found benefit from travelling, learned from the flood of tears, which she could no longer repress, the fatal truth. He led her to a seat, and sat down by her, while Emily continued to weep, and Valancourt to hold the hand, which she was unconscious he had taken, till it was wet with the tears, which grief for St. Aubert and sympathy for herself had called forth. “I feel,” said he at length, “I feel how insufficient all attempt at consolation must be on this subject. I can only mourn with you, for I cannot doubt the source of your tears. Would to God I were mistaken!” Emily could still answer only by tears, till she rose, and begged they might leave the melancholy spot, when Valancourt, though he saw her feebleness, could not offer to detain her, but took her arm within his, and led her from the fishing-house. They walked silently through the woods, Valancourt anxious to know, yet fearing to ask any particulars concerning St. Aubert; and Emily too much distressed to converse. After some time, however, she acquired fortitude enough to speak of her father, and to give a brief account of the manner of his death; during which recital Valancourt’s countenance betrayed strong emotion, and, when he heard that St. Aubert had died on the road, and that Emily had been left among strangers, he pressed her hand between his, and involuntarily exclaimed, “Why was I not there!” but in the next moment recollected himself, for he immediately returned to the mention of her father; till, perceiving that her spirits were exhausted, he gradually changed the subject, and spoke of himself. Emily thus learned that, after they had parted, he had wandered, for some time, along the shores of the Mediterranean, and had then returned through Languedoc into Gascony, which was his native province, and where he usually resided. When he had concluded his little narrative, he sunk into a silence, which Emily was not disposed to interrupt, and it continued, till they reached the gate of the château, when he stopped, as if he had known this to be the limit of his walk. Here, saying, that it was his intention to return to Estuvière on the following day, he asked her if she would permit him to take leave of her in the morning; and Emily, perceiving that she could not reject an ordinary civility, without expressing by her refusal an expectation of something more, was compelled to answer, that she should be at home. She passed a melancholy evening, during which the retrospect of all that had happened, since she had seen Valancourt, would rise to her imagination; and the scene of her father’s death appeared in tints as fresh, as if it had passed on the preceding day. She remembered particularly the earnest and solemn manner, in which he had required her to destroy the manuscript papers, and, awakening from the lethargy, in which sorrow had held her, she was shocked to think she had not yet obeyed him, and determined, that another day should not reproach her with the neglect.
Source text: Project Gutenberg #3268. Public domain worldwide.
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Chapter IX is structured around a movement from controlled grief to involuntary emotion and back to resolve. Radcliffe carefully stages Emily's recovery in graduated steps—reading her father's books, touching his chair, playing his instrument—before allowing the fishing-house scene to rupture that fragile composure. The chapter thus dramatises the Burkean sublime of loss: the mind must approach overwhelming feeling obliquely, through habit and occupation, or risk being overwhelmed entirely.

The education theme receives its fullest early articulation here. Radcliffe insists that St. Aubert's cultivation of Emily's understanding was not merely ornamental but functional, providing an "asylum from indolence" and expanding outward into social benevolence. This positions sensibility not as passive susceptibility but as an active, disciplined faculty—a pointed counter to the novel's implicit critique of Madame Cheron's dissipation, which represents the corruption of feeling by wealth and fashion.

The fishing-house scene is a masterpiece of Gothic pathetic fallacy. The overgrown path, the thistle and foxglove choking St. Aubert's flowers, the sighing pines and whispering osiers all externalise Emily's inner state while simultaneously functioning as memento mori. Radcliffe's description of the breeze as "a kind of music more in unison with her feelings" and "soothing to the heart as the voice of Pity" elevates natural sound to an almost therapeutic agency, anticipating Romantic ideas about nature's restorative power.

Valancourt's reappearance is managed with consummate narrative economy. His voice is recognised before his face—a detail that privileges sensory memory and feeling over rational identification, consistent with the novel's epistemology of the heart. His involuntary exclamation "Why was I not there!" reveals romantic attachment without explicit declaration, and the image of Emily's hand "wet with the tears" he has shed over it fuses grief and tenderness in a single physical gesture that is both decorous and charged.

The chapter closes with Emily's sudden recollection of her father's command to destroy the manuscript papers—a narrative deferral that reactivates the mystery plot just as the emotional register has softened. Radcliffe thus uses the chapter's final beat to remind the reader that the past is not merely a source of melancholy but of unresolved, potentially dangerous secrets, binding the domestic grief narrative firmly back to the Gothic machinery of the larger novel.

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✎ Mr. Shifflett's Note
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