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Ann Radcliffe - The Italian

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Ann Radcliffe The Italian
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Oxford Worlds Classics The Italian Ann Radcliffe ne Ward was born in - photo 1
Oxford Worlds Classics
The Italian

Ann Radcliffe (ne Ward) was born in London in 1764. Her father was a reputable haberdasher who took up the management of a porcelain showroom in Bath for the business partners Thomas Bentley and Josiah Wedgwood. Anns childhood was subsequently spent with her parents in Bath, and with her uncle in fashionable Chelsea, which may have exposed her to radical politics and philosophy, as well as immersing her in the vibrant Dissenting culture of rationalism, radicalism, and republicanism.

In 1787 Ann Ward married William Radcliffe, an Oxford-educated journalist, who wrote for and soon became the editor of the Gazetteer, and New Daily Advertiser, a campaigning newspaper that celebrated the French Revolution, freedom of the press, and Dissenters rights. Ann, meanwhile, appears to have taken up writing out of boredom. She wrote a succession of increasingly popular romance novelsThe Castles of Athlin and Dunbayne (1789), A Sicilian Romance (1790), and The Romance of the Forest (1791)before The Mysteries of Udolpho (1794) set a dazzling new standard in supernatural romantic fiction, variously dubbed at the time the Terrorist System of Novel Writing, the hobgoblin-romance, and ultimately the Radcliffe school. Radcliffes profits from her writing enabled her husband to quit his job, and the two of them toured the Netherlands and Germany, which she later described in a travelogue, A Journey made in the Summer of 1794, through Holland and the Western Frontier of Germany to which are added Observations during a Tour to the Lakes (1795). The Italian (1797), written at the height of her powers, was also the last of the works of the great Enchantress to be published in her lifetime. Despite her international celebrity, little is known of the remainder of Radcliffes life, and she died in 1823. Her last novel, Gaston de Blondeville, was published in 1826, together with poetry, further travel writings, and a memoir by Thomas Noon Talfourd.

Nick Groom is Professor in English at the University of Exeter. He has published widely for both academic and popular readerships, and his many books include The Forgers Shadow (2002), The Union Jack (2006), The Gothic: A Very Short Introduction (2012), The Seasons: An Elegy for the Passing of the Year (2013), and several editions of eighteenth-century texts. He has edited Horace Walpoles The Castle of Otranto (2014) and Matthew Lewiss The Monk (2016) for Oxford Worlds Classics.

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The Italian - image 2

Great Clarendon Street, Oxford, ox 2 6 dp United Kingdom

Oxford University Press is a department of the University of Oxford. It furthers the Universitys objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries

Introduction, Select Bibliography, Chronology,

Explanatory Notes Nick Groom 2017

The moral rights of the authors have been asserted

First published by Oxford University Press 1968

First published as a Worlds Classics paperback 1981

Reissued as an Oxford Worlds Classics paperback 1998, 2008

New edition 2017

Impression: 1

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above

You must not circulate this work in any other form and you must impose this same condition on any acquirer

Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America

British Library Cataloguing in Publication Data

Data available

Library of Congress Control Number: 2016946823

ISBN 9780198704430

ebook ISBN 9780191009556

Printed in Great Britain by Clays Ltd, St Ives plc

Judith Luna commissioned this edition, for which I am most grateful. Luciana OFlaherty, assisted by Kizzy Taylor-Richelieu, has been an extremely patient and attentive editorwhich I have very much appreciatedand the edition has benefited significantly from the scrupulous attention and keen eye for detail of the copy-editor, Rosemary Roberts. The British Library kindly granted permission to print the manuscript material in Appendix II. My thanks are due to Jonathan Barry, Greg Buzwell, Steve Poole, and Dale Townshend, and, as ever, to my family. My interest in Radcliffes writings developed through lively debate with my students, and I would like to acknowledge them here. This edition is dedicated to my research studentspast, present, and future.

Contents

After writing The Italian, Ann Radcliffe reputedly went mad. The signs were already there: she had, it was said, written that suffocatingly claustrophobic book during the year 1796, by candlelight with the shutters and curtains closed against the outside world. But Ann Radcliffe had lost neither her wits nor her life to her art: financially independent and jaded by criticism of her work, in the wake of the publication of The Italian she had, at the age of 32, simply retired into genteel affluence and obscurity. She travelled with her husband (and their dog), received the occasional visitor, and lived a life of ease until she did eventually die more than a quarter of a century later.

As the best-selling novelist of the decade, Radcliffe defined 1790s terror fiction, mixing sublime aesthetic effects with Enlightenment empiricism and ratiocination into a characteristic style that sought to exhilarate rather than shock readers. She dwelt on the psychological effects of fear and dread while disdaining supernatural sensationalism. Eighteenth-century concepts of the emotions and sense-perception are consequently at the heart of Radcliffes work, and she is as much the heir of debates on education and socio-political thinking as she is of Horace Walpoles Gothic tale The Castle of Otranto (1764). But her interest was not simply theoretical; she also provided a practical example in confronting and overcoming the issues that faced women in the literary world. In her career, Radcliffe was a trail-blazer: she demonstrated that women could be professional writers and earn a living by the pen.

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