470–72)

In Chapter V, however, the ‘horrible’ scene in the chapel of Udolpho is lit by ‘gleams, thrown between the arches of the vaults, where, here and there, the broken ground marked the spots in which other bodies had been recently interred’.

25. See Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), ed. J. T. Boulton (London: Routledge & Kegan Paul, 1958); William Gilpin, Observations on the River Wye, and Several Parts of South Wales, &c. Relative Chiefly to Picturesque Beauty, dated 1782 but published in 1783 (facsimile edn Richmond Surrey: Richmond Publishing, 1973); his Observations, Relative Chiefly to Picturesque Beauty, Made in the Year 1772, on Several Parts of England: Particularly the Mountains, and Lakes of Cumberland, and Westmorland (1786), and his Remarks on Forest Scenery (1791). See also Anna Laetitia (Aikin) Barbauld’s essay ‘On the Pleasure Derived from Objects of Terror’ in Miscellaneous Pieces, which she produced with her husband, John Aikin (3rd edn, London: J. Johnson, 1792), pp. 119–27. For Radcliffe’s use of Barbauld’s ideas, see note 4 to Vol. II, Ch. VI, of Udolpho.

26. Here he stated his ‘preference for the more simple mode, of boldly avowing supernatural machinery’. See Ann Radcliffe, The Novels Complete in One Volume, p. xxv.

27. Mary Wollstonecraft, A Vindication of the Rights of Woman: With Strictures on Political and Moral Subjects (London: Source Book Press, 1972), p. 79.

28. Edmund Burke, A Philosophical Enquiry, pp. 110–11.

29. Robert Miles, The Great Enchantress, pp. 132–3.

30. Thomas Noon Talfourd, ‘Memoir’, pp. 116–17.

31. Terry Castle, ‘The Spectralization of the Other in The Mysteries of Udolpho’ in Felicity Nussbaum and Laura Brown, eds., The New Eighteenth Century: Theory, Politics, English Literature (New York and London: Methuen, 1987), pp. 231–53.

32. My translation. See Novalis (Georg Friedrich Philipp von Hardenberg, 1772–1807), Heinrich von Ofterdingen, with Hymnen an die Nacht (Munich: Wilhelm Goldmann Verlag, 1964), p. 124. Heinrich, a young artist in medieval Germany, tells his beloved, Mathilde, ‘Ja, Mathilde, die höhere Welt ist uns näher, als wir gewöhnlich denken. Schon hier leben wir in ihr, und wir erblicken sie auf das innigste mit der irdischen Natur verwebt.’ Novalis wrote his novel in response to Goethe’s Wilhelm Meisters Lehrejahre (Wilhelm Meister’s Apprenticeship) (1795–6), which he considered to have ruined ‘the poetry of nature’ and forgotten ‘the miraculous’, ‘nature and mysticism’.