"The silence and deep repose of the landscape served to impress this character more awfully on the heart, and while Ellena sat wrapt in the thoughtfulness it promoted, the vesper-service of the monks, breathing softly from the cathedral above, came to her ear; it was a music which might be said to win on silence, and was in perfect unison with her feelings; solemn, deep, and full, it swelled in holy peels, and rolled away in murmurs, which attention pursued to the last faint note that melted into air."

— Radcliffe [née Ward], Ann (1764-1823)


Place of Publication
London
Publisher
Cadell and Davies
Date
1797
Metaphor
"The silence and deep repose of the landscape served to impress this character more awfully on the heart, and while Ellena sat wrapt in the thoughtfulness it promoted, the vesper-service of the monks, breathing softly from the cathedral above, came to her ear; it was a music which might be said to win on silence, and was in perfect unison with her feelings; solemn, deep, and full, it swelled in holy peels, and rolled away in murmurs, which attention pursued to the last faint note that melted into air."
Metaphor in Context
One of them soon after quitted the chapel and proceeded alone to the monastery, leaving Ellena in the custody of his comrade, whose pity she now made a last, though almost hopeless, effort to interest. He replied to all her entreaties only by a waving of the hand, and an averted face; and she endeavoured to meet with fortitude and to endure with patience, the evil which she could neither avoid nor subdue. The spot where she awaited the return of the ruffian, was not of a character to promote melancholy, except, indeed, that luxurious and solemn kind of melancholy, which a view of stupendous objects inspires. It overlooked the whole extent of plains, of which she had before caught partial scenes, with the vast chain of mountains, which seemed to form an insurmountable rampart to the rich landscape at their feet. Their towering and fantastic summits, crowding together into dusky air, like flames tapering to a point, exhibited images of peculiar grandeur, while each minuter line and feature withdrawing, at this evening hour, from observation, seemed to resolve itself into the more gigantic masses, to which the dubious tint, the solemn obscurity, that began to prevail over them, gave force and loftier character. The silence and deep repose of the landscape served to impress this character more awfully on the heart, and while Ellena sat wrapt in the thoughtfulness it promoted, the vesper-service of the monks, breathing softly from the cathedral above, came to her ear; it was a music which might be said to win on silence, and was in perfect unison with her feelings; solemn, deep, and full, it swelled in holy peels, and rolled away in murmurs, which attention pursued to the last faint note that melted into air. Ellena's heart owned the power of this high minstrelsy; and while she caught for a moment the sweeter voices of the nuns mingling in the choral response, she indulged a hope that they would not be wholly insensible to her sufferings, and that she should receive some consolation from sympathy as soft as these tender-breathing strains appeared to indicate.
(I.vi, pp. 77-8)
Categories
Provenance
Reading
Citation
At least 7 entries in the ESTC (1797)

Radcliffe, Ann. The Italian, ed. Robert Miles (New York: Penguin, 2000). <Google Books: vol. I, vol. II, vol. III>
Date of Entry
06/04/2013

The Mind is a Metaphor is authored by Brad Pasanek, Assistant Professor of English, University of Virginia.