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Content Warning: This section of the guide includes discussion of death, incest, and death by suicide.
The Marquis de Montalt, having seen La Motte taken to prison, goes to Vaceau to ensure that Theodore’s court martial results in a death sentence. Louis, who is stationed in town, befriends Theodore and learns of Adeline’s plight. He perceives that Theodore is his rival for Adeline’s love. Louis accompanies the party back to Vaceau and conducts La Luc to the prison, while Adeline tries to hold up Clara’s spirits. La Luc and Theodore discuss his plight, both attempting not to give in to despair. Louis struggles to hide his hurt that Adeline favors Theodore.
La Motte, in prison, is sunk in grief at his misfortunes and reflects on his crime. While living at the abbey, he had become desperate for money and attempted robbery. The man he attacked and left for dead was the Marquis. La Motte hid the jewels he took in the tomb and, in guilt, often went to check on their hiding place, which accounted for his long absences. When the Marquis promised to forgive his crimes, La Motte “had neither resolution or virtue sufficient to reject the terms” and consented to give Adeline into the Marquis’s keeping (318). In his defense at the trial, La Motte reveals that the Marquis asked him to murder Adeline.
La Luc travels to Paris to petition the king to pardon his son, but the Marquis persuades the king that Theodore is guilty. Adeline, who is ill with distress, presses Louis for news of Theodore and asks to see him. Theodore asks Louis to keep him company the night before his execution.
The morning Theodore is to be executed, La Luc, Clara, and Adeline visit his prison cell. Theodore and Adeline embrace, but their reunion is “mingled tenderness and despair” (326). They struggle with their sadness until Louis arrives with a stay of execution and the hope that a pardon might be possible, as La Motte’s trial in Paris has been casting doubt on the character of his accuser, the Marquis.
The man from the cottage approaches La Motte in prison, who tells him to take Adeline away. The man, Du Bosse, is in prison for debt but holds a grudge against the Marquis.
Du Bosse comes to La Motte’s trial and testifies that he joined his accomplice, Jean d’Aunoy, in a plot to bring a young girl away from the convent where she had been raised. D’Aunoy was told that the girl was the natural daughter of the Marquis and was ordered to do away with her. Unable to kill the girl, Du Bosse instead gave her to La Motte. The Marquis is confined until witnesses can be brought. Madame La Motte writes to tell Louis of the discovery, and Louis petitions Theodore’s commanding officer to delay his sentence.
Adeline journeys to Paris to testify at the trial, moved by the hope that she can help both Theodore and La Motte. Adeline feels even more indebted to La Motte when she learns he saved her from being murdered. Louis accompanies her, and Madame La Motte gives Adeline a respectable place to stay in Paris. Adeline shudders at the thought that the Marquis might be her father.
Adeline comes before the court with her testimony. Further witnesses confirm that La Motte attacked the Marquis, and the death sentence is pronounced. Then Jean d’Aunoy, who was discovered in a provincial prison, is brought forward for examination.
D’Aunoy describes how, in 1642, he and his accomplices were hired by one Henry Marquis de Montalt. On the orders of his half-brother, Philippe, Henry was imprisoned in the Abbey of St. Clair, in Fontanville Forest, and thereafter murdered. Philippe then claimed the title and estates. Adeline recalls the manuscript she found at the abbey. The new Marquis gave Henry’s infant daughter to d’Aunoy and ordered him to take her away. D’Aunoy took the name St. Pierre and raised the girl as his own. Upon this news, Adeline faints. D’Aunoy further explains that after his wife died, the girl was taken to a convent. He brought her out on the Marquis’s orders, but when he learned that the Marquis intended to kill the girl, he left.
The Marquis is thrown into prison. The narrator explains that his motives for “so monstrous a deed were ambition, and the love of pleasure” (342). When Henry’s wife died giving birth to Adeline, Philippe conceived of his plot. Philippe had married a wealthy lady who possessed property, including the Abbey of St. Clair. Philippe rarely visited until he found La Motte in residence. The night he left in haste, he was presumably overcome with guilt over his brother’s murder. The Marquis realized who Adeline was when he saw her seal, which bears the arms of her mother’s family. D’Aunoy had stolen the seal from the Marquis when he took Adeline away to raise.
Adeline’s feelings, the narrator says, “were too complex to be analysed” (346). She has gone from a penniless orphan to an heiress of considerable wealth. She is overcome to think that her father wrote the diary she discovered. She shies from the thought of having to accuse the Marquis of his deeds in a public trial. Clara writes that La Luc is very ill, and Adeline reflects that she seems to bring all around her to calamity.
Monsieur Vernueil appears to reveal he is Adeline’s relation through her mother’s family. He shows her a miniature of her mother. Theodore writes to Adeline, and his letter tenderly moves her.
The day of the trial, Adeline is quite emotional, “but adding to the natural dignity of her air an expression of soft timidity, and to her downcast eyes a sweet confusion, it [her emotion] rendered her an object still more interesting, and she attracted the universal pity and admiration of the assembly” (351-52). Word comes that the Marquis is dying; he has taken poison to avoid judgment. Adeline is acknowledged as the heir. She begs the king for a pardon for Theodore. For La Motte, who repents of his former habits, his sentence is commuted to exile.
Adeline meets more of her family. She has her father’s remains removed from the chest in the abbey and properly buried. D’Aunoy is tried and hanged for murder. Theodore is released from prison, and he and Adeline happily reunite. Monsieur Verneuil wishes to marry Clara, and La Luc’s health is restored.
After observing a period of mourning for her father, Adeline marries Theodore. Clara marries Monsieur Verneuil the same day. La Luc returns to his parish in Savoy, and Peter welcomes them home. The celebration lasts all night, with dancing. Theodore and Clara both find residences nearby. Theodore and Adeline live in great happiness, “possessing the pure and rational delights of a love refined into the most tender friendship, surrounded by the friends so dear to them, and visited by a select and enlightened society” (362), which includes Louis and his wife. Their lives are examples of trials endured and virtues rewarded.
There is a great deal of backstory Radcliffe reveals in these chapters, and some of it initially appears convoluted due to the proliferation of deceit. The reversals and reveals unfold in a symmetry that matches and answers the mysteries established in Volume I, specifically the questions about why Adeline was in danger. The trial also exposes the identity of the man imprisoned and murdered at the abbey, now named the Abbey of St. Clair. While some turns remain coincidental—the role of Monsieur Verneuil, for example—much of the significant action of the backstory and present narrative is explained as the machinations of Philippe, the current Marquis de Montalt, and the story’s premier villain.
The story pattern of the romance, evoked in the title, fulfills its promise in the conclusion that results in a rise of fortune for the virtuous characters, punishment or defeat for the ignoble characters, and the restoration of social order—cementing the thematic exploration of Self-Interest, Self-Preservation, and the Insistence on Virtue. It also awards a happy reconciliation to the lovers after their long trials. As seen in the classification of certain of Shakespeare’s plays as romances, there is a long literary association of romance with the magical or transformative. One popular transformation is the “sudden heir,” in which a central character in destitute circumstances is suddenly revealed to be of high birth.
Magic does not play a role in Radcliffe’s romance, as the supernatural elements are all speculative, and the terrors are largely visited by one’s imagination, further developing the theme of The Power of Imagination. The real horrors of Radcliffe’s Gothic are the crimes committed by humans, like a brother murdering his kin, ordering the death of an innocent, or persecuting a maiden with his lust. The threat of incest was commonly evoked in the Gothic, as it too was designed to arouse feelings of horror due to incest being a strong taboo. Here, the brief duration during which Adeline is thought to be the Marquis’s daughter is a move to temper her sudden elevation. It gives her the status of a natural daughter—that is, legally considered illegitimate and born to an unmarried couple—before she is finally revealed as the legitimate daughter of the previous Marquis and his wife.
The restoration of the social order goes in concert with the rewards of virtue, which is shown as the proper root of prosperity. La Motte’s efforts to gain his fortune through robbery or deceit are crimes for which he is condemned, and only through true remorse and promises to correct his ways are his crimes expiated. La Motte’s example presents a third term into the balance of vice and virtue represented by Adeline and the Marquis, as he suggests that a good character can be led into error but also can be redeemed. Radcliffe emphasizes that rewards are reserved for the virtuous characters in the pairing of Monsieur Verneil and Clara, who, despite their age difference, are suited in temperament. An additional restoration is the return of health for La Luc. That they all chose to live in pastoral harmony near Leloncourt, rather than on Adeline’s grand estates, accords with the ideals expressed in the writing of Rousseau, who established the rural as a more preferable environment to the urban. This continues to show The Effect of Landscape on Emotion.
While La Motte provides an example of redemption, Theodore and his father, La Luc, represent different models of masculine virtue. La Luc is the model of benevolent provision and pastoral care. He is the ideal father both to his children and to his parishioners, and their prosperity stems either from his generosity or from the sound tenets he has taught them. Theodore is a more vigorous model of masculinity as a soldier, but his acts of violence are explained as a defense of the innocent, specifically Adeline. For both men, their sensitivity to emotion—especially to injustice—is mark of their noble character. For both, their fortitude of mind prevails. This is the same ideal to which Adeline adheres, in her own way.
Adeline’s model of virtue takes on a distinctly feminine cast as her attributes are closely linked to values her culture celebrated as aspects of the feminine ideal. Possession of these qualities marks her as worthy of her status as heroine and, later, as an aristocrat. In addition to her insistence on chastity and her good manners, she is scrupulously modest. Just as she did not visit Theodore’s room without permission, she does not visit him in prison without company. Furthermore, she completely lacks an instinct for vengeance, which so motivates the Marquis. Radcliffe demonstrates her delicacy of feeling in her reluctance to be on public display at the trial and further reluctance to publicly confront or accuse the Marquis. The very passivity that made her subject to persecution is now a virtue as she is brought only by necessity, and the hope of helping others, to act in her self-interest. This further displays self-interest, self-preservation, and the insistence on virtue as the narrative comes to an end. Adeline underlines the book’s philosophical ideals about the elements of a good life in her benevolence—once she is confirmed to her new station—and her preference for the joys of family and like-minded society.



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