The Romance of the Forest

The Gothic narrative relies for effect on a dilation of suspense by building hints at a terrifying occurrence or ominous event. There is sometimes a lull or a moment of reversal before the reveal, which is intended to excite a response from the reader, whether of fear, surprise, or pleasure. This pattern unfolds several times across these chapters, beginning with Louis’s appearance. Radcliffe leads up to this discovery with long scenes of agitation, particularly on La Motte’s part, and then the suspense of waiting overnight in fear of being discovered by soldiers. Adeline’s volunteering to investigate emphasizes that the heroine’s virtuous beauty can have the power to subdue a threat or conquer danger. Her innocence is symbolized by the tame deer that greets her while she explores the abbey. This leads to a moment of tranquility when she supposes they are safe, followed by the sudden shock for Adeline when a strange man addresses her.

Radcliffe then draws out his search for La Motte, increasing Adeline’s agitation along with the suspense, until the next surprise, which excites astonishment and pleasure: this is Louis, the La Mottes’s son, whom they welcome with joy. Radcliffe enacts this pattern of threat and reversal again when the group of horsemen breaks down the abbey door, only to reveal the Marquis, who, at this point, appears to be a gentleman and a man of nobility. The suspense over the other stranger who approaches Adeline is deferred a while longer, but he turns out to be Theodore, a seeming ally and possible love interest. In a last reversal, Theodore does not appear for their appointment, leaving Adeline to question what danger he believes she is in. The pattern of suspense, surprise, and reversal functions to maintain interest by varying the tension and tone.



The increasing hints of danger in this section darken the mood, and several indications are made toward some lurking but unknown threat. Adeline and Louis remind of the rumors of murder and supernatural activity at the abbey, which foreshadow a paranormal encounter of some sort. Louis, thinking he sees a figure rise from the tomb, and Adeline’s bloody dreams continue the hints that the violence committed on the property has left a ghastly residue. This is not only a favorite device of the Gothic; revenge has long served as a literary motive for supernatural appearances. The play Macbeth, from which the epigraphs to Chapters 6 and 7 are drawn, casts a thematic parallel in that the ghost of his murdered friend, Banquo, haunts Macbeth. La Motte’s agitated manner demonstrates that something is causing him distress, and his refusal to explain to his wife or son heightens the suspense over what he has witnessed. The hint that the Marquis and La Motte have some antagonistic history further sets up an expectation of conflict.

While Radcliffe further demonstrates The Effect of Landscape on Emotion in this section, other moments illustrate The Power of Imagination to reflect in the environment an individual’s state of mind. Madame La Motte’s joy at seeing her son transforms the ruined abbey for her, at least momentarily. Radcliffe further hints at the power of imagination in the way Adeline tells herself not to think about Theodore, convinced that doing so might nourish an attachment. Instead, she turns to useful work, books, or solitary walks to soothe her emotions. That Adeline can discipline her fancies and find calm distinguishes her from La Motte, who cannot seem to achieve equanimity of spirits. This continues the thematic juxtapositions between Self-Interest, Self-Preservation, and the Insistence on Virtue.

The inclusion of poems confirms Adeline’s ability to find solace in the calming influence of nature. The poems referred to as sonnets do not exhibit the specific meter and rhyme which now define the sonnet; that is because, in the 18th century, a sonnet could loosely refer to any sort of metered lyric form. In Radcliffe’s time, poetry was considered of higher literary quality than the novel. The sentiments of poetry were thought to be elevated by the formal expression, while imaginative fiction was little more than sensationalism. By including poetry of her composition, Radcliffe varies the tone of her novel and gives Adeline a talent that would be admired in a young woman of good birth.

The four men introduced at this point are all foils to one another in their relationship with and claim on Adeline. La Motte, thus far, serves as her protector, although Madame La Motte’s suspicions cast doubt. Louis declares himself a suitor but stirs no interest in her. The Marquis is a man of powerful rank, imperious in his manner, displaying the conduct (thus far) of a gentleman. However, the hints of a past association with La Motte suggest a more avaricious side to his nature. Theodore first appears as the mysterious huntsman drawn by Adeline’s song, but the description of his manners, sensitivity, and breeding are all marks of the romance hero.

Adeline now has several threats to her peace, including her reliance on the La Mottes, who behave unpredictably toward her, and a growing attachment to Theodore. Radcliffe’s hints have been subtle enough that one may not anticipate the severity. The novel prepares the reader for horrifying events, however, with the gory dreams that conclude Volume I. These establish a sense of dread as well as the anticipation intended to prompt the reader to purchase Volume II, which was initially published separately.