Gaston De Blondeville

Gaston De Blondeville

by Ann Radcliffe


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Gaston de Blondeville is an 1826 Gothic novel by noted English author Ann Radcliffe. Set in the 13th century court of England's King Henry III the novel centers around the wedding of the title character. The wedding is interrupted by a merchant who claims to have been wronged by Gaston, in that Gaston murdered his kinsman. Henry is forced to hold a trial to determine the validity of the claims. The plot is further complicated by the machinations of an abbot who tries to suppress the truth, and by ghosts who want to expose the truth.

Product Details

ISBN-13: 9781517537104
Publisher: CreateSpace Publishing
Publication date: 09/27/2015
Pages: 284
Product dimensions: 6.00(w) x 9.00(h) x 0.60(d)

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Gaston de Blondeville 4.5 out of 5 based on 0 ratings. 6 reviews.
Anonymous More than 1 year ago
Orders a martini*
Anonymous More than 1 year ago
Walks in. "Hello."
Anonymous More than 1 year ago
Looks at the text from her girlfriend and laughs.
Anonymous More than 1 year ago
kcast610 More than 1 year ago
Ann Radcliffe was an author who inspired many a Gothic novelists. Of Ann's six novels, Gaston de Blondeville was her last. In my opinion she did not end her career on a high note. There was so much boring detail about the procession of the King and Queen and their numerous banquets and entertainment. Just when the story would start to get interesting with the mysterious appearance and disappearance of the knight, it would go back to more boring detail again. Gaston de Blondeville was just not my cup of tea. I DO, however, recommend you read her other five novels. They are great!
Guest More than 1 year ago
Valancourt Books¿ recent publication of Mrs. Radcliffe¿s Gaston de Blondeville is a publication long overdue. The novel, originally published in 1826, three years after the mistress of the Gothic¿s death, was actually written by her in 1803, but then suppressed by her from publication. The general belief is that she disowned the novel, thinking it inferior to her other work literary historians have also claimed that readers agreed and greeted its publication with little enthusiasm. The primary reason usually given for why it is inferior is that it is the only one of Radcliffe¿s Gothic novels where she chose to use a real ghost rather than explain what appeared to be supernatural occurrences. The general reader, and especially the student of Gothic and historical fiction, should be allowed to judge the matter for himself and now that Valancourt Books has republished Gaston de Blondeville, that decision can be made. Gaston de Blondeville, while admittedly not as full of chills and suspense as The Mysteries of Udolpho or The Italian, is a remarkable novel in Radcliffe¿s canon. It marks a noted departure from her earlier novels, and in many ways, it displays her growth and restraint as an author. Considering all her previous novels were published between the time she was twenty-five and thirty-three, a remarkably young age for someone to write three of the greatest Gothic novels of all time, as well as a couple inferior ones, it is not surprising that Radcliffe sought to move in a new direction in her work. Gaston de Blondeville was the beginning of her growth in that new direction, and had she written another like it, readers may have had a real treat in an even greater Radcliffe. My only criticism of Valancourt Books¿ edition of Gaston de Blondeville--which is filled with a superb collection of secondary sources and an impressive scholarly introduction by Frances Chiu to reflect the historical and political influences of the French Revolution upon the novel--is that no attempt is made in these supplementary materials to explain why Radcliffe made this departure from her past use of rational explanations for supposed supernatural occurrences. I believe that departure is the big question that must be answered about this novel, especially since Radcliffe was otherwise striving to be more realistic from a historical standpoint. Despite what is typically said about Gaston de Blondeville by literary historians, the six contemporary reviews provided in this edition are largely favorable. In her introduction, Frances Chiu quotes these reviews to argue that literary critics condemned the novel, but in truth, only one review is solidly negative while the rest express great enthusiasm for a new work by Mrs. Radcliffe. Chiu quotes La Belle Assemblee as saying ¿it is without the lofty pretensions of some of Mrs. Radcliffe¿s earlier productions, and incapable of exciting an equal intenseness of interest¿ but Chiu fails to quote what comes directly after: ¿it will not in the slightest degree detract from the fame of her¿ and ¿it will be read with great satisfaction by every reader of taste.¿ Scots Magazine was pleased that the novel does not include so much of her poetry which is not remarkable at all, and overall feels the novel is an improvement on her earlier work because ¿She avoided long particulars of rural scenery, and tedious trackings of the agitated mind, from one terrible or sorrowful imagination to another.¿ In fact, the only review that is truly negative is the Monthly Review, which does find parts of the work to praise but chiefly objects to its use of the supernatural. Why Radcliffe decided to include supernatural events as a reality has not been given a good explanation. Perhaps she felt the supernatural was more acceptable to the reading public by the earlier nineteenth century, nearly fifteen years after she wrote her first Gothic novel. While she may have been in competition with other Gothic writers, her contem