The purpose of this paper is to interpret Radcliffe’s The Italian through Kierkegaard’s philosophy of the stages of existence, thereby debunking the notion that fear is superfluous in Gothic literature. Rather, Kierkegaard’s work can be applied to explain the role of Radcliffe’s characters in terms of desire and reason, possibility and decision, confession and guilt, and the lack of interior religious truth. Specifically, Ellena’s talent for musical composition, Radcliffe’s description of her sketch and its surroundings, and Ellena’s solitary nature can all be understood through how she uses these faculties to work on and ultimately save herself. The story of Vivaldi’s love and the Marchesa’s relationship with the Inquisition can be interpreted through how they focus on the otherworldly and yet remain centered on others. The Marchesa and the Inquisition twist reason into a form so removed from its original understanding. Schedoni does not merely confirm his confession of and guilt over betrayal; he also reveals the absence of both before the discovery of his true self. Finally, one can explore Ellena’s artistic skill through Radcliffe’s use of veils, appearances, confessionals, tribunals, and late, revealing confessions. These elements suggest that even Ellena’s nearly rational supernatural will not alleviate her terror before the novel’s close; rather, they emphasize how characters are forced to embrace the unknown.