As one finishes a novel, the
emotions the ending pages inflict upon the reader are important to analyze in order
to realize what the author was trying to achieve. Nevertheless, these emotions
only constitute the surface, for they don’t quite give us insight on the purpose
of the novel as a whole. Elizabeth A. Fay delves deep into this question in A
Feminist Introduction to Romanticism dividing the Gothic novels into three main
categories: the domestic (or external), the psychological (or internal), and a
combination of both known as radical critique Gothic. Fay goes on to classify
Ann Radcliffe’s A Sicilian Romance as domestic, for according to Fay,
Radcliffe sets her focus on the tyrannical rule which is imposed upon most of
the characters by the Marquis or other male figures, leaving the psychological drives
of her characters out of the matter.
In a manner, I believe that Fay is
correct on marking Radcliffe’s novel as domestic; however, it’s important to
understand why she does so. It’s true that the patriarchal system from which Julia
wishes to escape from is a predominant theme, and is a common focus of criticism
throughout Gothic novels. Yet one can’t overlook the importance of the main
heroine in this novel, for Julia, despite following all of the standards a
woman at the time was held up to in her mannerisms and character, she still
decided to break away from what society was demanding of her. In other words,
she was the perfect role model, complacent with her place and position in life,
yet she still chose love over her place in society. This showed that one didn't
have to be of a rebellious disposition from the start in order to defy the
patriarchal system. Fay goes on to confirm how Radcliffe challenges this
patriarchal system stating, “Radcliffe ultimately defied the position women
held in society, for her heroine’s most often would purify their homes by
remaining pure themselves… and ended up owning several homes.”
Yet, it’s for this reason, the
natural grace and properness of Julia that the novel fails to be a
psychological Gothic. She has trouble deciding whether she should run away with
Hippolitus for the social implications this would have on them (If she fled
with Hippolitus, she would avoid one evil, and encounter another. She would
escape the dreadful destiny awaiting her, but must, perhaps, sully the purity
of that reputation, which was dearer to her than existence. p. 62). Unlike
other heroines, such as Austen’s Jane Eyre who actively defies society and
thinks in a much more progressive manner, Julia remains tied to these social
constraints and only breaks away from them when urged by others.
However, A Sicilian Romance doesn't seem to be void of a psychological development within the characters,
for there seems to be a certain defiance in the way they think against their
society. Such is the case of Ferdinand, who despite being brought up by his
father, resists his power and sides immediately with Julia’s cause. The
Marchioness is also an important figure who challenges the classic feminine
model, for she thinks on her own accord, not constricting herself to what
social norm dictates.
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