The Mysteries of Udolpho [412]
secret as possible; and thus the mysterious music of Laurentini had combined with other circumstances, to produce a report, that not only the chateau, but its neighbourhood, was haunted.
Soon after her entrance into this holy community, and before she had shewn any symptoms of insanity there, she made a will, in which, after bequeathing a considerable legacy to the convent, she divided the remainder of her personal property, which her jewels made very valuable, between the wife of Mons. Bonnac, who was an Italian lady and her relation, and the nearest surviving relative of the late Marchioness de Villeroi. As Emily St. Aubert was not only the nearest, but the sole relative, this legacy descended to her, and thus explained to her the whole mystery of her father's conduct.
The resemblance between Emily and her unfortunate aunt had frequently been observed by Laurentini, and had occasioned the singular behaviour, which had formerly alarmed her; but it was in the nun's dying hour, when her conscience gave her perpetually the idea of the Marchioness, that she became more sensible, than ever, of this likeness, and, in her phrensy, deemed it no resemblance of the person she had injured, but the original herself. The bold assertion, that had followed, on the recovery of her senses, that Emily was the daughter of the Marchioness de Villeroi, arose from a suspicion that she was so; for, knowing that her rival, when she married the Marquis, was attached to another lover, she had scarcely scrupled to believe, that her honour had been sacrificed, like her own, to an unresisted passion.
Of a crime, however, to which Emily had suspected, from her phrensied confession of murder, that she had been instrumental in the castle of Udolpho, Laurentini was innocent; and she had herself been deceived, concerning the spectacle, that formerly occasioned her so much terror, and had since compelled her, for a while, to attribute the horrors of the nun to a consciousness of a murder, committed in that castle.
It may be remembered, that, in a chamber of Udolpho, hung a black veil, whose singular situation had excited Emily's curiosity, and which afterwards disclosed an object, that had overwhelmed her with horror; for, on lifting it, there appeared, instead of the picture she had expected, within a recess of the wall, a human figure of ghastly paleness, stretched at its length, and dressed in the habiliments of the grave. What added to the horror of the spectacle, was, that the face appeared partly decayed and disfigured by worms, which were visible on the features and hands. On such an object, it will be readily believed, that no person could endure to look twice. Emily, it may be recollected, had, after the first glance, let the veil drop, and her terror had prevented her from ever after provoking a renewal of such suffering, as she had then experienced. Had she dared to look again, her delusion and her fears would have vanished together, and she would have perceived, that the figure before her was not human, but formed of wax. The history of it is somewhat extraordinary, though not without example in the records of that fierce severity, which monkish superstition has sometimes inflicted on mankind. A member of the house of Udolpho, having committed some offence against the prerogative of the church, had been condemned to the penance of contemplating, during certain hours of the day, a waxen image, made to resemble a human body in the state, to which it is reduced after death. This penance, serving as a memento of the condition at which he must himself arrive, had been designed to reprove the pride of the Marquis of Udolpho, which had formerly so much exasperated that of the Romish church; and he had not only superstitiously observed this penance himself, which, he had believed, was to obtain a pardon for all his sins, but had made it a condition in his will, that his descendants should preserve the image, on pain of forfeiting to the church a certain part of his domain,
Soon after her entrance into this holy community, and before she had shewn any symptoms of insanity there, she made a will, in which, after bequeathing a considerable legacy to the convent, she divided the remainder of her personal property, which her jewels made very valuable, between the wife of Mons. Bonnac, who was an Italian lady and her relation, and the nearest surviving relative of the late Marchioness de Villeroi. As Emily St. Aubert was not only the nearest, but the sole relative, this legacy descended to her, and thus explained to her the whole mystery of her father's conduct.
The resemblance between Emily and her unfortunate aunt had frequently been observed by Laurentini, and had occasioned the singular behaviour, which had formerly alarmed her; but it was in the nun's dying hour, when her conscience gave her perpetually the idea of the Marchioness, that she became more sensible, than ever, of this likeness, and, in her phrensy, deemed it no resemblance of the person she had injured, but the original herself. The bold assertion, that had followed, on the recovery of her senses, that Emily was the daughter of the Marchioness de Villeroi, arose from a suspicion that she was so; for, knowing that her rival, when she married the Marquis, was attached to another lover, she had scarcely scrupled to believe, that her honour had been sacrificed, like her own, to an unresisted passion.
Of a crime, however, to which Emily had suspected, from her phrensied confession of murder, that she had been instrumental in the castle of Udolpho, Laurentini was innocent; and she had herself been deceived, concerning the spectacle, that formerly occasioned her so much terror, and had since compelled her, for a while, to attribute the horrors of the nun to a consciousness of a murder, committed in that castle.
It may be remembered, that, in a chamber of Udolpho, hung a black veil, whose singular situation had excited Emily's curiosity, and which afterwards disclosed an object, that had overwhelmed her with horror; for, on lifting it, there appeared, instead of the picture she had expected, within a recess of the wall, a human figure of ghastly paleness, stretched at its length, and dressed in the habiliments of the grave. What added to the horror of the spectacle, was, that the face appeared partly decayed and disfigured by worms, which were visible on the features and hands. On such an object, it will be readily believed, that no person could endure to look twice. Emily, it may be recollected, had, after the first glance, let the veil drop, and her terror had prevented her from ever after provoking a renewal of such suffering, as she had then experienced. Had she dared to look again, her delusion and her fears would have vanished together, and she would have perceived, that the figure before her was not human, but formed of wax. The history of it is somewhat extraordinary, though not without example in the records of that fierce severity, which monkish superstition has sometimes inflicted on mankind. A member of the house of Udolpho, having committed some offence against the prerogative of the church, had been condemned to the penance of contemplating, during certain hours of the day, a waxen image, made to resemble a human body in the state, to which it is reduced after death. This penance, serving as a memento of the condition at which he must himself arrive, had been designed to reprove the pride of the Marquis of Udolpho, which had formerly so much exasperated that of the Romish church; and he had not only superstitiously observed this penance himself, which, he had believed, was to obtain a pardon for all his sins, but had made it a condition in his will, that his descendants should preserve the image, on pain of forfeiting to the church a certain part of his domain,