The Charterhouse of Parma · Chapter
Chapter XVIII explained
Fabrizio, imprisoned in the citadel, becomes obsessed with Clelia Conti, whose presence in the aviary below his window transforms his captivity.
What happens
Fabrizio, imprisoned in the citadel, becomes obsessed with Clelia Conti, whose presence in the aviary below his window transforms his captivity. He bores a hole in the shutter to watch her, and his initial fear of prison gives way to a paradoxical happiness derived from his proximity to her. Meanwhile, Clelia struggles with her growing feelings and her pity for the Duchessa.
Themes in this chapter
Freedom vs. Imprisonment
Fabrizio's physical confinement contrasts with his emotional liberation through love; the prison's architecture is designed to enforce isolation, yet he finds a new sense of purpose.
Love and Passion
Fabrizio's obsessive love for Clelia transforms his experience of prison, as he prioritizes seeing her over his own freedom.
Fate and Foreboding
Fabrizio reflects on Blanès's prophecy about his imprisonment, and the uncertainty of his release hangs over the chapter.
Characters to notice
- Fabrizio del Dongo
Imprisoned in the citadel, he becomes fixated on Clelia, boring a hole in the shutter to see her and finding unexpected happiness in his confinement.
- Clelia Conti
Tends to her birds in the aviary, deeply troubled by her pity for the Duchessa and her conflicting feelings for Fabrizio, whom she secretly watches.
- Duchessa Sanseverina
Mentioned as being in a state of utter despair over Fabrizio's imprisonment, inspiring Clelia's pity and thoughts of heroic action.
- General Fabio Conti
The governor of the citadel, whose harsh measures (like the screen and oiled paper) are criticized by the carpenter; Clelia's father.
- Barbone
Mentioned as one of the vile creatures whose face offends Fabrizio during his arrest.
- Priore Blanès
Referenced in Fabrizio's thoughts about prophecy and the possibility of a long imprisonment.
Key passages
“to feel a contempt, almost a horror for the flexible character of the courtier; whence her antipathy to marriage.”
She felt disgust for the courtier's adaptability, which made her dislike the idea of marriage.
Clelia's internal conflict about her father's political world and her own feelings.
“Anger for anger, I ought to have told her that I loved her, he cried; for he had arrived at this discovery.”
In his frustration, Fabrizio realized he should have confessed his love to Clelia.
Fabrizio's self-awareness of his love for Clelia.
“It is certainly a case where the fear was a hundred times worse than the evil.”
The anticipation of prison was far more terrifying than the reality.
Fabrizio's reflection on his earlier dread of imprisonment.
“I am breaking two rules at the same time, the man told him; I am talking to Your Excellency and taking money.”
The carpenter noted he was violating both the rule against conversation and the rule against accepting bribes.
The carpenter's risky kindness to Fabrizio.