Ann Radcliffe

Ann Radcliffe (née Ward; 9 July 1764 – 7 February 1823) was

Ann Radcliffe
an English novelist and a pioneer of Gothic fiction. Her technique
of explaining apparently supernatural elements in her novels has
been credited with gaining respectability for Gothic fiction in the
1790s.[1] Radcliffe was the most popular writer of her day and
almost universally admired; contemporary critics called her the
mighty enchantress and the Shakespeare of romance-writers, and
her popularity continued through the 19th century.[2] Interest has
revived in the early 21st century, with the publication of three
biographies.[3]

Contents
Biography
Literary life
Anti-Catholicism
Art connection
Gothic landscapes Born Ann Ward
Influence on later writers 9 July 1764
Film reference Holborn, London,
England
Books
Died 7 February 1823
References (aged 58)
Further reading London, England
External links Occupation Novelist
Nationality English
Genre Gothic
Biography
Radcliffe was born Ann Ward in Holborn, London, on 9 July 1764. Her father was William Ward (1737–
1798), a haberdasher, who moved the family to Bath to manage a china shop in 1772. Her mother was Ann
Oates (1726–1800) of Chesterfield.[4] Radcliffe occasionally lived in Chelsea with her maternal uncle,
Thomas Bentley, who was in partnership with a fellow Unitarian, Josiah Wedgwood, maker of the
Wedgwood china. Sukey, Wedgwood's daughter, also stayed in Chelsea and is Radcliffe's only known
childhood companion. Sukey later married Dr. Robert Darwin and had a son, the naturalist Charles
Darwin. Although mixing in some distinguished circles, Radcliffe seems to have made little impression in
this society and was described by Wedgwood as "Bentley's shy niece".[5]

In 1787, Ward married the Oxford graduate and journalist William Radcliffe (1763–1830), part-owner and
editor of the English Chronicle. He often came home late, and to occupy her time she began to write and
read her work to him when he returned. Theirs was a childless and seemingly happy marriage. Radcliffe
called him her "nearest relative and friend".[3] The money she earned from her novels later allowed them to
travel together, along with their dog, Chance. In her final years, Radcliffe retreated from public life and was
rumoured to have become insane as a result of her writing.[6] These rumours arose because Radcliffe just
stopped writing after publishing her five novels, though the last three were very successful. She remained
secluded for 26 years, with no real explanation available to her many fans.[7] However, this supposed
seclusion is contradicted in The New Monthly Magazine, which states that the tenor of Mrs. Radcliffe's life
was characterized by the rare union of the literary gentlewoman and the active housewife. Instead of being
in confinement in Derbyshire, as has been asserted, she was to be seen, every Sunday, at St. James's
Church; almost every fine day in Hyde Park; sometimes at the theatres, and very frequently at the Opera.[8]

Ann died on 7 February 1823 and was buried in a vault in the Chapel of Ease at St George's, Hanover
Square, London. Although she had suffered from asthma for twelve years previously,[3] her modern
biographer, Rictor Norton, cites the description given by her physician, Dr. Scudamore, of how "a new
inflammation seized the membranes of the brain," which led to "violent symptoms" and argues that they
suggest a "bronchial infection, leading to pneumonia, high fever, delirium and death."[9]

There are few artifacts or manuscripts that give insight into Radcliffe's personal life, but in 2014 a rare letter
from Radcliffe to her mother-in-law was found in an archive at the British Library. Its tone suggests a
strained relationship between the two, which may have inspired the relationship between Ellena Rosalba
and the Marchesa di Vivaldi in her novel The Italian.[10]

Little is known of Ann Radcliffe's life. In 1823, the year of her death, the Edinburgh Review said: "She
never appeared in public, nor mingled in private society, but kept herself apart, like the sweet bird that sings
its solitary notes, shrouded and unseen."[3]

Shortly after her death, Gaston de Blondeville was published for Henry Colburn, featuring A Memoir for
the Authoress, the first known biographical piece on Radcliffe.[11]

Christina Rossetti attempted to write a biography of Radcliffe in 1883, but abandoned it for lack of
information. For 50 years, biographers stayed away from her as a subject, agreeing with Rossetti's
estimation. Rictor Norton, author of Mistress of Udolpho: The Life of Ann Radcliffe (1999), argues that
those 50 years were "dominated by interpretation rather than scholarship" where information (specifically
on her rumoured madness) was repeated rather than traced to a reliable source.[12]

According to Ruth Facer: "Physically, she was said to be 'exquisitely proportioned' – quite short,
complexion beautiful – 'as was her whole countenance, especially her eyes, eyebrows, and mouth.'"[3]

Literary life
Radcliffe published five novels during her lifetime, which she always referred to as "romances"; a final
novel, Gaston de Blondeville was published posthumously in 1826. At a time when the average amount
earned by an author for a manuscript was £10, her publishers, G. G. and J. Robinson, bought the copyright
for The Mysteries of Udolpho (1794) for £500, while Cadell and Davies paid £800 for The Italian (1797),
making Radcliffe the highest-paid professional writer of the 1790s.[1] Her first successful novel was
Romance of the Forest (1791).

Ann Radcliffe led a retired life and never visited the countries where the fearful happenings in her novels
took place. Her only journey abroad, to Holland and Germany, was made in 1794 after most of her books
were written. The journey was described in her A Journey Made in the Summer of 1794 (1795).[13]
Jane Austen parodied The Mysteries of Udolpho in Northanger Abbey. Radcliffe did not like the direction
in which Gothic literature was heading – one of her later novels, The Italian, was written in response to
Matthew Gregory Lewis's The Monk. Radcliffe portrayed her female characters as equal to male characters,
allowing them to dominate and overtake the typically powerful male villains and heroes, creating new roles
for women in literature previously not available.[14] After Radcliffe's death, her husband released her
unfinished essay "On the Supernatural in Poetry", which details the difference between the sensation of
terror her works aimed to achieve and the horror Lewis sought to evoke.[15] Radcliffe stated that terror
aims to stimulate readers through imagination and perceived evils while horror closes them off through fear
and physical dangers.[16] "Terror and Horror are so far opposite, that the first expands the soul and
awakens the faculties to a high degree of life; the other contracts, freezes and nearly annihilates them."[17]

Radcliffe was unique in that she was known for including supernatural elements but eventually giving
readers a rational explanation for the supernatural. Usually, Radcliffe would reveal the logical excuse for
what first appeared to be supernatural towards the end of her novels, which led to heightened suspense.
Some critics/readers found this disappointing and felt duped. Perhaps the most eloquent complaint against
the trope was penned by Walter Scott in his Lives of the Novelists (1821–1824). Regarding Radcliffe’s
penchant, he writes: “A stealthy step behind the arras may, doubtless, in some situations, and when the
nerves are tuned to a certain pitch, have no small influence upon the imagination; but if the conscious
listener discovers it to be only the noise made by the cat, the solemnity of the feeling is gone, and the
visionary is at once angry with his sense for having been cheated, and with his reason for having
acquiesced in the deception."[18] Some modern critics have been frustrated by her work, as she fails to
include "real ghosts". This could be motivated by the idea that works in the Romantic period, from the late
18th century to the mid-19th century, had to undermine Enlightenment values such as rationalism and
realism.[18]

Anti-Catholicism
Radcliffe's work have been considered by some scholars to be part of a larger tradition of anti-Catholicism
within Gothic literature; her works contain hostile portrayals of both Catholicism and Catholics.[19] The
Italian frequently presents Catholicism, the largest religion in Italy, in a negative light. In the novel,
Radcliffe portrays Catholic elements such as the Inquisition in a negative light, pointing to its discriminatory
practises against non-Catholics. Radcliffe also portrays the confessional as a "danger zone" controlled by
the power of the priest and the church.[20] The Mysteries of Udolpho also contained negative portrayals of
Catholicism; both novels are set in Catholic-majority Italy, and Catholicism was presented as being part of
"ancient Italianess". Italy, along with its Catholicism, had been featured in earlier Gothic literature; Horace
Walpole's novel The Castle of Otranto claimed in-universe that it was "found in the library of an ancient
catholic family in the north of England" and "printed at Naples, in the black letter, in the year 1529".[21]

Some scholars have suggested that Radcliffe's anti-Catholicism was partly a response to the 1791 Roman
Catholic Relief Act passed by the British parliament, which was a major component of Catholic
emancipation in Great Britain.[19] Other scholars have suggested that Radcliffe was ultimately ambivalent
towards Catholicism, claiming that she was a Latitudinarian.[22]

Art connection
Radcliffe's elaborate descriptions of landscape were influenced by the painters Claude Lorrain and Salvator
Rosa. She often wrote about places she had never visited. Lorrain's influence can be seen through
Radcliffe's picturesque, romantic descriptions, as seen in the first volume of The Mysteries of Udolpho.
Rosa's influence can be seen through dark landscapes and elements of the Gothic.
Radcliffe said of Claude:[3]

In a shaded corner, near the chimney, a most exquisite Claude, an evening view, perhaps over
the Campagna of Rome. The sight of this picture imparted much of the luxurious repose and
satisfaction, which we derive from contemplating the finest scenes of nature. Here was the
poet, as well as the painter, touching the imagination, and making you see more than the
picture contained. You saw the real light of the sun, you breathed the air of the country, you
felt all the circumstances of a luxurious climate on the most serene and beautiful landscape;
and the mind thus softened, you almost fancied you hear Italian music in the air.

Gothic landscapes
Radcliffe used the framing narrative of personifying nature in many of her novels. For example, she
believed that the sublime motivated the protagonist to create an image that was more idealistic within the
plot.[23]

Influence on later writers

Radcliffe influenced many later authors, both by inspiring more
Gothic fiction and by inspiring parodies. In the eighteenth
 
century, she inspired writers like Matthew Lewis (1775 – 1818)
"I have read all Mrs.
and the Marquis de Sade (1740–1814), who praised her work
Radcliffe’s works, and most
but produced more intensely violent fiction. Radcliffe is known
of them with great pleasure.
for having spawned a large number of lesser imitators of the
The Mysteries of Udolpho,
"Radcliffe School", such as Harriet Lee and Catherine
when I had once begun it, I
Cuthbertson. Jane Austen (1775 – 1817) defined her fiction as a
could not lay down again;—I
contrast to Radcliffe and writers like her, especially in
remember finishing it in two
Northanger Abbey (1817), Austen's parody of The Mysteries of
days—my hair standing on
Udolpho. Scholars have also perceived other apparent allusions
end the whole time."[24]
to Radcliffe's novels and life in Austen's work.[25]

In the early nineteenth century, Radcliffe influenced Edgar  — Jane Austen, Northanger
Allan Poe (1809–1849), and Sir Walter Scott (1771–1832). For Abbey (1817)
example, Scott interspersed his work with poems in a similar
manner to Radcliffe, and one assessment of her reads, "Scott
himself said that her prose was poetry and her poetry was prose.
She was, indeed, a prose poet, in both the best and the worst
senses of the phrase. The romantic landscape, the background, is the best thing in all her books; the
characters are two dimensional, the plots far fetched and improbable, with 'elaboration of means and futility
of result'."[26] Later in the nineteenth century, Charlotte and Emily Brontë continued Radcliffe's Gothic
tradition with their novels Jane Eyre, Villette, and Wuthering Heights.

Radcliffe was also admired by French authors like Honoré de Balzac (1799 – 1850), Victor Hugo (1802 –
1885), Alexandre Dumas (1802 – 1870), and Charles Baudelaire (1821 – 1867).[27] Honoré de Balzac's
novel of the supernatural L'Héritière de Birague (1822) follows the tradition of Radcliffe's style and
parodies it.[28]
As a child the young Fyodor Dostoyevsky was deeply impressed by Radcliffe. In Winter Notes on Summer
Impressions (1863) he writes, "I used to spend the long winter hours before bed listening (for I could not
yet read), agape with ecstasy and terror, as my parents read aloud to me from the novels of Ann Radcliffe.
Then I would rave deliriously about them in my sleep." A number of scholars have noted elements of
Gothic literature in Dostoyevsky's novels,[29] and some have tried to show direct influence of Radcliffe's
work.[30]

In 1875, Paul Féval wrote a story starring Radcliffe as a vampire hunter, titled La Ville Vampire: Adventure
Incroyable de Madame Anne Radcliffe ("City of Vampires: The Incredible Adventure of Mrs. Anne
Radcliffe"), which blends fiction and history.[31] At the last minute a mysterious man on a white horse
saves the day, none other than Lord Wellington fresh from the Battle of Waterloo.

Film reference
Helen McCrory plays Ann Radcliffe in the 2007 film Becoming Jane, starring Anne Hathaway as Jane
Austen. The film depicts Radcliffe as meeting the young Jane Austen and encouraging her to pursue a
literary career. No evidence exists that such a meeting ever occurred.

Books
The Castles of Athlin and Dunbayne (1 vol.) 1789
A Sicilian Romance (2 vols) 1790
The Romance of the Forest (3 vols) 1791
The Mysteries of Udolpho (4 vols) 1794
A Journey Made in the Summer of 1794 (1 vol.) 1795[32]
The Italian (3 vols) 1797
Gaston de Blondeville (4 vols) 1826

References
1. The British Library Retrieved 12 November 2016. (https://www.bl.uk/romantics-and-victorian
s/articles/an-introduction-to-ann-radcliffe)
2. "Ann Radcliffe" (https://academic.brooklyn.cuny.edu/english/melani/novel_18c/radcliffe/inde
x.html).
3. Chawton House Library: Ruth Facer, "Ann Radcliffe (1764–1823)" (http://www.chawtonhous
e.org/wp-content/uploads/2012/06/Ann-Radcliffe.pdf), retrieved 1 December 2012.
4. Miles, Robert (2005). "Radcliffe [née Ward], Ann (1764–1823), novelist" (https://www.oxfordd
nb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-22974).
Oxford Dictionary of National Biography (online ed.). Oxford University Press.
doi:10.1093/ref:odnb/22974 (https://doi.org/10.1093%2Fref%3Aodnb%2F22974). Retrieved
25 May 2020. (Subscription or UK public library membership (https://www.oxforddnb.com/help/sub
scribe#public) required.)
5. Norton, Rictor (1999). Mistress of Udolpho: The Life of Ann Radcliffe. London: Leicester
University Press. pp. 26–33.
6. "The Life of Ann Radcliffe" (http://rictornorton.co.uk/gothic/radcliff.htm). rictornorton.co.uk.
Retrieved 13 December 2019.
7. Norton, Rictor (1999). Mistress of Udolpho: the life of Ann Radcliffe. London: Leicester
University Press. p. 3. ISBN 978-1-84714-269-6. OCLC 657392599 (https://www.worldcat.or
g/oclc/657392599).
 8. The New Monthly magazine, 1826, Volume 16, page 115.
9. Norton, Rictor (1999). Mistress of Udolpho: The Life of Ann Radcliffe. London: Leicester
University Press. p. 243.
10. Alison Flood, Gothic fiction pioneer Ann Radcliffe may have been inspired by mother-in-law
(https://www.theguardian.com/books/2014/jan/30/ann-radcliffe-gothic-fiction-mother-in-law),
The Guardian, 30 January 2014.
11. Ward Radcliffe, Ann (1833). The Posthumous Works of Anne Radcliffe ... To Which Is
Prefixed a Memoir of the Authoress, with Extracts from her Private Journals. (Four Volumes).
London: Henry Colburn. OCLC 2777722 (https://www.worldcat.org/oclc/2777722).
12. Rictor Norton (1999). Mistress of Udolpho: The Life of Ann Radcliffe (https://books.google.co
m/books?id=OrivAwAAQBAJ&pg=PP8). Bloomsbury Publishing. pp. VII. ISBN 978-1-
84714-269-6.
13. "Ann Radcliffe | English author" (https://www.britannica.com/biography/Ann-Radcliffe-Englis
h-author). Encyclopedia Britannica. Retrieved 8 May 2019.
14. Pourteau, Leslie Katherine (1997). 'The Pride of Conscious Worth': Characterization of the
Female in the Novels of Ann Radcliffe (https://www.proquest.com/openview/ab4d4a384799
e096a7ef74b906ca9b76/1) (PhD dissertation). Texas A&M University. pp. 1–9 – via
ProQuest.
15. Dr. Lilia Melani. "Gothic History" (http://www.saylor.org/site/wp-content/uploads/2012/05/engl
403–1.2.2-Gothic-History%E2%80%A8.pdf) (PDF). Archived (https://ghostarchive.org/archiv
e/20221009/http://www.saylor.org/site/wp-content/uploads/2012/05/engl403–1.2.2-Gothic-Hi
story%E2%80%A8.pdf) (PDF) from the original on 9 October 2022. Retrieved 3 May 2012.
16. Eighteenth Century Lit, Ann Radcliffe's Gothic (http://eighteenthcenturylit.wordpress.com/con
temporary-reactions/the-gothic-in-ann-radcliffes-novels/), The Mysteries of Udolpho:
Discover the secrets within....
17. "Radcliffe, On the Supernatural, p. 1" (http://academic.brooklyn.cuny.edu/english/melani/got
hic/radcliffe1.html). academic.brooklyn.cuny.edu.
18. Miller, Adam (2016). "Ann Radcliffe's Scientific Romance". Eighteenth-Century Fiction. 28
(3): 527–545. doi:10.3138/ecf.28.3.527 (https://doi.org/10.3138%2Fecf.28.3.527).
ISSN 0840-6286 (https://www.worldcat.org/issn/0840-6286). S2CID 170625158 (https://api.s
emanticscholar.org/CorpusID:170625158).
19. Mulvey-Roberts, Marie (2016). "Catholicism, the Gothic and the bleeding body". Dangerous
bodies: Historicising the Gothic corporeal. Manchester University Press. pp. 14–51.
doi:10.7228/manchester/9780719085413.003.0002 (https://doi.org/10.7228%2Fmancheste
r%2F9780719085413.003.0002). ISBN 978-0719085413. JSTOR j.ctt18pkdzg.6 (https://ww
w.jstor.org/stable/j.ctt18pkdzg.6).
20. Hoeveler, Diane Long (2014). "Anti-Catholicism and the Gothic Ideology: Interlocking
Discourse Networks". The Gothic Ideology: Religious Hysteria and Anti-Catholicism in
British Popular Fiction, 1780–1880. Gothic Literary Studies (1 ed.). University of Wales
Press. pp. 15–50. ISBN 978-1783160488. JSTOR j.ctt9qhfdt.6 (https://www.jstor.org/stable/j.
ctt9qhfdt.6).
21. Schmitt, Cannon (1994). "Techniques of Terror, Technologies of Nationality: Ann Radcliffe's
the Italian". ELH. 61 (4): 853–876. doi:10.1353/elh.1994.0040 (https://doi.org/10.1353%2Fel
h.1994.0040). JSTOR 2873361 (https://www.jstor.org/stable/2873361). S2CID 161155282 (h
ttps://api.semanticscholar.org/CorpusID:161155282).
22. Mayhew, Robert J. (2002). "Latitudinarianism and the Novels of Ann Radcliffe". Texas
Studies in Literature and Language. 44 (3): 273–301. doi:10.1353/tsl.2002.0015 (https://doi.o
rg/10.1353%2Ftsl.2002.0015). JSTOR 40755365 (https://www.jstor.org/stable/40755365).
S2CID 161768388 (https://api.semanticscholar.org/CorpusID:161768388).
23. Brabon, Benjamin (2006). "Surveying Ann Radcliffe's Gothic Landscapes". Literature
Compass. 3 (4): 840–845. doi:10.1111/j.1741-4113.2006.00357.x (https://doi.org/10.1111%2
Fj.1741-4113.2006.00357.x).
24. Austen Northanger Abbey, 33–34.
25. William Baker, Critical Companion to Jane Austen: A Literary Reference to Her Life and
Work (Facts on File, 2007); see entry on Radcliffe, p. 578.
26. Stanley Kunitz and Howard Haycraft, eds, British Authors Before 1800: A Biographical
Dictionary (NY: H. W. Wilson, 1952), p. 427.
27. "Ann Radcliffe" (https://academic.brooklyn.cuny.edu/english/melani/novel_18c/radcliffe/inde
x.html). Academic Brooklyn. Retrieved 5 May 2020.
28. Samuel Rogers, Balzac and the Novel (Octagon Books, 1969), p. 21.
29. Berry, Robert. "Gothicism in Conrad and Dostoevsky" (http://www.otago.ac.nz/deepsouth/vol
1no2/berry1_issue2.html). Retrieved 18 October 2014.
30. Bowers, Katherine. "Dostoevsky's Gothic Blueprint: the Notebooks to The Idiot" (https://web.
archive.org/web/20141022055700/http://www.darwin.cam.ac.uk/content/dostoevskys-gothic-
blueprint-notebooks-idiot). Archived from the original (http://www.darwin.cam.ac.uk/content/d
ostoevskys-gothic-blueprint-notebooks-idiot) on 22 October 2014. Retrieved 17 October
2014.
31. Gibson, Matthew (2013). " 'A Life in Death, a Death in Life': the Legitimist Novels of Paul
Féval and the Catastrophe of the Second Empire". The Fantastic and European Gothic:
History, Literature and the French Revolution. ISBN 978-0-7083-2572-8.
32. Radcliffe, Ann Ward (1795). A journey made in the summer of 1794, through Holland and the
western frontier of Germany, with a return down the Rhine; to which are added, observations
during a tour to the lakes of Lancashire, Westmoreland, and Cumberland (http://archive.org/d
etails/journeymadeinsum01radcuoft). Robarts - University of Toronto. London : G.G. and J.
Robinson.

Further reading
Cody, David (July 2000). "Ann Radcliffe: An Evaluation" (http://www.victorianweb.org/previct
orian/radcliffe/intro.html). The Victorian Web: An Overview. Retrieved 1 December 2010.
"Ann Radcliffe" (http://academic.brooklyn.cuny.edu/english/melani/novel_18c/radcliffe/index.
html). Brooklyn College English Department. 9 May 2003. Retrieved 15 June 2015.
Norton, Rictor (1999). Mistress of Udolpho: The Life of Ann Radcliffe.
Rogers, Deborah (1996). Ann Radcliffe: A Bio-Bibliography. ISBN 978-0-313-28379-6.
Rogers, Deborah. The Critical Responses to Ann Radcliffe

External links
Works by Ann Radcliffe in eBook form (https://standardebooks.org/ebooks/ann-radcliffe) at
Standard Ebooks
Works by Ann Radcliffe (https://www.gutenberg.org/ebooks/author/1147) at Project
Gutenberg
Works by Ann Radcliffe (https://fadedpage.com/csearch.php?author=Radcliffe%2C%20Ann)
at Faded Page (Canada)
Works by or about Ann Radcliffe (https://archive.org/search.php?query=%28%28subject%3
A%22Radcliffe%2C%20Ann%20Ward%22%20OR%20subject%3A%22Radcliffe%2C%20A
nn%20W%2E%22%20OR%20subject%3A%22Radcliffe%2C%20A%2E%20W%2E%22%2
0OR%20subject%3A%22Ann%20Ward%20Radcliffe%22%20OR%20subject%3A%22An
 n%20W%2E%20Radcliffe%22%20OR%20subject%3A%22A%2E%20W%2E%20Radcliff
e%22%20OR%20subject%3A%22Radcliffe%2C%20Ann%22%20OR%20subject%3A%22
Ann%20Radcliffe%22%20OR%20creator%3A%22Ann%20Ward%20Radcliffe%22%20O
R%20creator%3A%22Ann%20W%2E%20Radcliffe%22%20OR%20creator%3A%22A%2
E%20W%2E%20Radcliffe%22%20OR%20creator%3A%22A%2E%20Ward%20Radcliffe%
22%20OR%20creator%3A%22Radcliffe%2C%20Ann%20Ward%22%20OR%20creator%3
A%22Radcliffe%2C%20Ann%20W%2E%22%20OR%20creator%3A%22Radcliffe%2C%20
A%2E%20W%2E%22%20OR%20creator%3A%22Radcliffe%2C%20A%2E%20Ward%22%
20OR%20creator%3A%22Ann%20Radcliffe%22%20OR%20creator%3A%22Radcliffe%2
C%20Ann%22%20OR%20title%3A%22Ann%20Ward%20Radcliffe%22%20OR%20title%3
A%22Ann%20W%2E%20Radcliffe%22%20OR%20title%3A%22A%2E%20W%2E%20Rad
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nn%20Ward%20Radcliffe%22%20OR%20description%3A%22Ann%20W%2E%20Radcliff
e%22%20OR%20description%3A%22A%2E%20W%2E%20Radcliffe%22%20OR%20desc
ription%3A%22Radcliffe%2C%20Ann%20Ward%22%20OR%20description%3A%22Radcli
ffe%2C%20Ann%20W%2E%22%20OR%20description%3A%22Ann%20Radcliffe%22%20
OR%20description%3A%22Radcliffe%2C%20Ann%22%29%20OR%20%28%221764-182
3%22%20AND%20Radcliffe%29%29%20AND%20%28-mediatype:software%29) at
Internet Archive
Works by Ann Radcliffe (https://librivox.org/author/794) at LibriVox (public domain
audiobooks)
Garnett, Richard (1896). "Radcliffe, Ann"  (https://en.wikisource.org/wiki/Dictionary_of_Natio
nal_Biography,_1885-1900/Radcliffe,_Ann). In Lee, Sidney (ed.). Dictionary of National
Biography. Vol. 47. London: Smith, Elder & Co.
Listing in 'The Literary Gothic' (https://web.archive.org/web/20010418232631/http://www.litg
othic.com/Authors/radcliffe.html)
Listing in The Victorian Web (http://www.victorianweb.org/previctorian/radcliffe/intro.html)

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