Description
“This situation is melodramatic rather than romantic, as the word is used technically in application to eighteenth and nineteenth-century literature. There is no little in Fathom, however, which is genuinely romantic in the latter sense. Such is the imprisonment of the Countess in the castle-tower, whence she waves her handkerchief to the young Count, her son and would-be rescuer. And especially so is the scene in the church, when Renaldo (the very name is romantic) visits at midnight the supposed grave of his lady-love. While he was waiting for the sexton to open the door, his "soul . . . was wound up to the highest pitch of enthusiastic sorrow. The uncommon darkness, . . . the solemn silence, and lonely situation of the place, conspired with the occasion of his coming, and the dismal images of his fancy, to produce a real rapture of gloomy expectation, which the whole world could not have persuaded him to disappoint.”
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