Acclaimed as the best-crafted novel by the most highly acclaimed romance novelist of her day, The Italian is a tale of revenge, remorse, and reversals in addition to being a gothicized sentimental story of true love. Schedoni, the villainous monk, is the most imposing character in all Ann Radcliffe’s work and the only one continuously praised as a masterwork in the art of characterization in the gothic genre. It has been said that he is the prototype of the Byronic hero. In a sense, The Italian is Schedoni’s story because he is the character drawn with the greatest psychological complexity: He is the one who moves the action of the story and who undergoes significant change. In fact, he experiences a kind of illumination—or at least thinks he does when he sees the picture of himself in Ellena’s necklace and knows it to be himself in his former days, before he was guilty of rape and fratricide. Radcliffe’s development of the character of Schedoni makes The Italian unique among her works as well as among other horror gothics; here, the characterization creates the gothicism to a greater extent than does even the stock gothic paraphernalia.
Nothing supernatural happens in The Italian, so nothing needs to be explained away. Gothic effects derive from the specter of murder looming over the narrative and the instruments of murder, such as the gleaming dagger of Schedoni and the rack of the Inquisition, and from the motif of mysterious Catholicism, specifically, the Inquisition as a force as unreasonable to deal with as the supernatural. The Inquisition, in essence, becomes Schedoni’s antagonist, a force against which he cannot fight. Because he has contrived to have Vivaldi arrested by...
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