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Kurzbeschreibung
The Romance of the Forest (1791) heralded an enormous surge in the popularity of Gothic novels, in a decade that included Ann Radcliffe's later works, The Mysteries of Udolpho and The Italian. Set in Roman Catholic Europe of violent passions and extreme oppression, the novel follows the fate of its heroine Adeline, who is mysteriously placed under the protection of a family fleeing Paris for debt. They take refuge in a ruined abbey in south-eastern France, where sinister relics of the past - a skeleton, a manuscript, and a rusty dagger - are discovered in concealed rooms. Adeline finds herself at the mercy of the abbey's proprietor, a libidinous Marquis whose attentions finally force her to contemplate escape to distant regions. Rich in allusions to aesthetic theory and to travel literature, The Romance of the Forest is also concerned with current philosophical debate and examines systems of thought central to the intellectual life of late eighteenth-century Europe.
Synopsis
The Romance of the Forest (1791) heralded an enormous surge in the popularity of Gothic novels, in a decade that included Ann Radcliffe's later works, The Mysteries of Udolpho and The Italian. Set in Roman Catholic Europe of violent passions and extreme oppression, the novel follows the fate of its heroine Adeline, who is mysteriously placed under the protection of a family fleeing Paris for debt. They take refuge in a ruined abbey in south-eastern France, where sinister relics of the past - a skeleton, a manuscript, and a rusty dagger - are discovered in concealed rooms. Adeline finds herself at the mercy of the abbey's proprietor, a libidinous Marquis whose attentions finally force her to contemplate escape to distant regions. Rich in allusions to aesthetic theory and to travel literature, The Romance of the Forest is also concerned with current philosophical debate and examines systems of thought central to the intellectual life of late eighteenth-century Europe.
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2 von 2 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
Wer ein Fable für den englischen Schauerroman entwickelt hat und diesem Genre, das in England gewissermaßen erfunden wurde, viel abgewinnen kann, der kommt um Ann Radcliffe nicht herum. Sie ist eine der frühen und großen Meisterinnen und ihre Hauptwerke, "The Mysteries of Udolpho" und "The Italian", sind wahre Genreklassiker, die lange Zeit das Maß aller Dinge wahren, was englische Spannungsliteratur anging.
"The Romance of the Forest" ist eines der früheren Werke Radcliffs; ein Roman, der viel von Radcliffes Qualitäten offenbart, aber merklich auch schon einiges auf dem Kerbholz hat. So muss man Radcliffs Stil einfach mögen, eine sehr poetische, präromantische Sprache, voll von eingestreuter Lyrik - entweder von der Verfasserin selbst kreiert oder zitierte Gedichtpassagen. In Sachen Stil braucht sich auch "The Romance of the Forest" nicht zu verstecken, nur leider hat Radcliffe es mit der Metaphysik doch nicht so sehr. Die Auflösung des Unheimlichen ist in der Regel eine etwas unspektakuläre Variante, die - nach vielmaligem Gebrauch - nicht mehr sonderlich fesselnd wirkt.
Die Geschichte um eine Gruppe politischer Flüchtlinge, die in einem mysteriösen Wald samt unheimlicher, verlassener Abtei Unterschlupf sucht, ist hier und da durchaus fesselnd. Ein gewisses psychologisches Potenzial besitzt auch einer der faunischen Schurken. Alles in allem schwebt allerdings ein sehr romantischer Duktus über allem. Dieses sensibele Erzählen, an sich ja ein schönes Leseerlebnis, wird durch die ein oder andere pathethische Verklärung leicht getrübt.
Verdienen "Udolpho" und "The Italian" gewiss 5 Sterne, ist dieser eher zweitrangige Text, nicht ganz von der Qualität der anderen beiden, wohl aber des Lesens wert.
"The Romance of the Forest" ist eines der früheren Werke Radcliffs; ein Roman, der viel von Radcliffes Qualitäten offenbart, aber merklich auch schon einiges auf dem Kerbholz hat. So muss man Radcliffs Stil einfach mögen, eine sehr poetische, präromantische Sprache, voll von eingestreuter Lyrik - entweder von der Verfasserin selbst kreiert oder zitierte Gedichtpassagen. In Sachen Stil braucht sich auch "The Romance of the Forest" nicht zu verstecken, nur leider hat Radcliffe es mit der Metaphysik doch nicht so sehr. Die Auflösung des Unheimlichen ist in der Regel eine etwas unspektakuläre Variante, die - nach vielmaligem Gebrauch - nicht mehr sonderlich fesselnd wirkt.
Die Geschichte um eine Gruppe politischer Flüchtlinge, die in einem mysteriösen Wald samt unheimlicher, verlassener Abtei Unterschlupf sucht, ist hier und da durchaus fesselnd. Ein gewisses psychologisches Potenzial besitzt auch einer der faunischen Schurken. Alles in allem schwebt allerdings ein sehr romantischer Duktus über allem. Dieses sensibele Erzählen, an sich ja ein schönes Leseerlebnis, wird durch die ein oder andere pathethische Verklärung leicht getrübt.
Verdienen "Udolpho" und "The Italian" gewiss 5 Sterne, ist dieser eher zweitrangige Text, nicht ganz von der Qualität der anderen beiden, wohl aber des Lesens wert.
1 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
I admire the way in which the authoress took all of her threads at the end and made them part of a carpet intricate in design. The heroine was lovable, but the romance between her and her lover was too restrictive and cold that I was often disappointed with it and not convinced, all though perhaps it suits the stereotype of the times, but I doubt I could ever keep my feelings so hidden. Despite my many qualms with the book, it was often exciting, and I do credit Radcliffe's ability to set words on paper. It is a perfect example of the gothic genre.
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35 von 36 Kunden fanden die folgende Rezension hilfreich
Beautiful Mystery
5. August 2002
Format:Taschenbuch
The story of a persecuted girl who is delivered from one person to another who are compelled by different motives to decide her destiny. Her beauty and refinement of character attract many to her, but only one wins her love and proves worthy of it by his noble actions.
The plots of Radcliffe's mysteries have been efficiently summarized by Russell Noyes in an introduction of 1956:
"The hero is a gentleman of noble birth, likely as not in some sort of disgrace; the heroine, an orphan-heiress, high-strung and sensitive, and highly susceptible to music and poetry and to nature in its most romantic moods. A prominent role is given to the tyrant-villain. He is a man of fierce and morose passions obsessed by the love of power and riches. The villain can usually be counted on to confine the heroine in the haunted wing of a castle because she refuses to marry someone she hates. Whatever the details, Mrs. Radcliffe generally manages the plot and action so that the chief impression is a sense of the young heroine's incessant danger. On oft-repeated midnight prowls about the gloomy passageways of a rambling, ruined castle, the heroine in a quiver of excitement (largely self-induced) experiences a series of hair-raising adventures and narrow escapes. Her emotional tension is kept to the pitch by a succession of strange sights and sounds . . . and by an assorted array of sliding panels, trap doors, faded hangings, veiled portraits, bloodstained garments, and even dark and desperate characters."
Many reviewers claim that no other Radcliffe mystery measures up to her Mysteries of Udolpho. I was hesitant to read others after reading Udolpho and loving it, but I decided not to trust the reviewers and read three more. The same beautiful descriptions, the stories within stories and the mysteries appearing and perplexing the reader, then having full explanations continued to adorn her most marvellous writings. If you want one more page-turner, you have it in this story. The literary beauty and the mysterious characters and events will keep you reading.
17 von 19 Kunden fanden die folgende Rezension hilfreich
Ann Radcliff's First Success as Gothic Writer; Has Eerie Charms of Gothic, But Is Not Good Enough
15. Oktober 2005
Format:Taschenbuch
Today Ann Radcliff is known for two thrilling Gothic novels -- 'Mysteries of Udolpho' (1794) and 'The Italian' (1797) -- but her talent was first recognized by 'The Romance of the Forest' (1791). 'The Romance' is now obscured by the more famous works, but can still offer some thrills common in the 18th-century Gothic world in its own way.
The narrative of 'Romance' is typically set in Roman Catholic Europe, and we see a family -- La Motte and his wife -- fleeing from Paris for debt. In the middle of the deep forest, La Motte is caught by the banditti (so he thinks). But the latter would not demand money; the ruffian instead brings a young, innocent girl Adeline, and places her under the protection of the family.
The episode above is just a beginning. Next we see La Motte et al. keep on running, until they decide to settle in a remote ruined abbey in France, of which owner Marquis is away from the estate. The deserted abbey provides them a good hiding place until Adeline realizes that something is wrong with the place -- there are a rusty dagger, a faded manuscript, a trap door, strange bahavior of La Motte, who daily vanishes in the woods, etc. And when finally Marquis arrives there in person, she must face another danger, typically Gothic situation for an innocent lady.
If you have read Radcliff, you find in 'Romance of the Forest' her distict touch here and there, which she was to develop in her later works. Besides the trademark tricks of Gothic fiction (which is to be parodied in 'Northanger Abbey'), we see Radcliff's obsession with the "sublime" landscapes, and her heroine is always allowed to escape from the dangers, only to frequently faint later. Lengthy poems are often quoated to express the sentiment of her and the writer, and the identities of some characters are revealed in the final act in order to solve the problems as rewards for the good.
Though Ann Radcliff has shown considerable skills of presenting thrills, the novel gets weaker in the third (and final) book, in which Adeline has virtually nothing to do. One strange thing is (from the viewpoint of us today, I mean) that portions of the third book are devoted to her travel, far from 'The Forest,' partly written as if it is a book of travel literature. And because of the too many characters rather carelessly introduced, the conclusion suffers from the complex (and often confusing) relations between them. So who is this sinister Marquis after all? Like the ending of 'Oliver Twist' the book explains too hastily, and you need to stop and think a while.
Good as it is, generally 'Romance of the Forest' is not regarded as Ann Radcliff's best, and probably it remains so in the future. And it even ceases to be a Gothic novel in the fianl section, in which the heroine, who should be in distress trapped in the distant castle somewhere in the Alps, leaves the dark forest far behind, and is allowed to look at the sunset in the sea and read a poem.or two. So if you want a genuinely Gothic version of Radcliff's novels, you should read 'The Italian' first.
The narrative of 'Romance' is typically set in Roman Catholic Europe, and we see a family -- La Motte and his wife -- fleeing from Paris for debt. In the middle of the deep forest, La Motte is caught by the banditti (so he thinks). But the latter would not demand money; the ruffian instead brings a young, innocent girl Adeline, and places her under the protection of the family.
The episode above is just a beginning. Next we see La Motte et al. keep on running, until they decide to settle in a remote ruined abbey in France, of which owner Marquis is away from the estate. The deserted abbey provides them a good hiding place until Adeline realizes that something is wrong with the place -- there are a rusty dagger, a faded manuscript, a trap door, strange bahavior of La Motte, who daily vanishes in the woods, etc. And when finally Marquis arrives there in person, she must face another danger, typically Gothic situation for an innocent lady.
If you have read Radcliff, you find in 'Romance of the Forest' her distict touch here and there, which she was to develop in her later works. Besides the trademark tricks of Gothic fiction (which is to be parodied in 'Northanger Abbey'), we see Radcliff's obsession with the "sublime" landscapes, and her heroine is always allowed to escape from the dangers, only to frequently faint later. Lengthy poems are often quoated to express the sentiment of her and the writer, and the identities of some characters are revealed in the final act in order to solve the problems as rewards for the good.
Though Ann Radcliff has shown considerable skills of presenting thrills, the novel gets weaker in the third (and final) book, in which Adeline has virtually nothing to do. One strange thing is (from the viewpoint of us today, I mean) that portions of the third book are devoted to her travel, far from 'The Forest,' partly written as if it is a book of travel literature. And because of the too many characters rather carelessly introduced, the conclusion suffers from the complex (and often confusing) relations between them. So who is this sinister Marquis after all? Like the ending of 'Oliver Twist' the book explains too hastily, and you need to stop and think a while.
Good as it is, generally 'Romance of the Forest' is not regarded as Ann Radcliff's best, and probably it remains so in the future. And it even ceases to be a Gothic novel in the fianl section, in which the heroine, who should be in distress trapped in the distant castle somewhere in the Alps, leaves the dark forest far behind, and is allowed to look at the sunset in the sea and read a poem.or two. So if you want a genuinely Gothic version of Radcliff's novels, you should read 'The Italian' first.
11 von 12 Kunden fanden die folgende Rezension hilfreich
Alright, but not nearly as good as The Mysteries of Udolpho!
5. Oktober 1999
Format:Taschenbuch
I admire the way in which the authoress took all of her threads at the end and made them part of a carpet intricate in design. The heroine was lovable, but the romance between her and her lover was too restrictive and cold that I was often disappointed with it and not convinced, all though perhaps it suits the stereotype of the times, but I doubt I could ever keep my feelings so hidden. Despite my many qualms with the book, it was often exciting, and I do credit Radcliffe's ability to set words on paper. It is a perfect example of the gothic genre.
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