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    The Monk
    The Monk
    The Monk
    Ebook555 pages9 hours

    The Monk

    By Matthew Gregory Lewis

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    Supernatural events, women in distress, and a corrupt clergy were popular themes in the Gothic novels of the 19th century. All of those elements, along with murder, incest, and the excesses of the Spanish Inquisition, are present in The Monk (1796), one of the era's bestselling and most influential novels.
    Set in a sinister Capuchin monastery in Madrid, the ever-more horrifying narrative recounts the experiences of a lustful and devious abbot, who forgoes his monastic vows in the face of temptation and sexual obsession. Seduced by an evil woman and intoxicated by desire, he assaults an innocent young girl and — to conceal his guilt — murders her mother. For these and other unholy offenses, he is apprehended and imprisoned, where he is subject to unpleasant treatment at the hands of the ecclesiastical authorities. In order to escape, he sells his soul to the devil, discovering in the aftermath the grim consequence of his horrifying acts.
    The most famous work in the otherwise unremarkable literary production of "Monk" Lewis, the novel's anticlericalism and heavy-breathing eroticism earned it a scandalous reputation in its time that was still intact 100 years after its publication. Today, more than two centuries later, the unvarnished crime and passion of The Monk still retain the ability to jar readers — even those inured to the violence and degradation of modern life. A masterpiece of Gothic storytelling, the book remains, as Samuel Taylor Coleridge noted, "rich, powerful, and fervid."

    LanguageEnglish
    PublisherDover Publications
    Release dateMar 2, 2012
    ISBN9780486112329
    Author

    Matthew Gregory Lewis

    Matthew Gregory Lewis (1775–1818) was an English author and playwright. Strongly influenced by the work of Ann Radcliffe and an adolescence spent learning languages in Europe, Lewis wrote his classic work The Monk in only ten weeks, earning himself the nickname “Monk” Lewis for the rest of his life. He went on to become a member of the English Parliament and an attaché to the British embassy in the Hague.

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    Reviews for The Monk

    4/5

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    • 5/5
      This is not a fusty Victorian novel, not by any means. It is a riot of a plot, with any number of gothic adventures taking place, all centered around an adjoining monestry and convent. Written by an Englishman & set in Spain, it has all those stereotypes of the Catholic church to the fore, and all the strange goings on that the anti-papists would expect to see (and entirely disapprove of). Even Satan has a cameo role in the end, comming to claim his prize. It's a riot, it's completely unbelievable and great fun!
    • 4/5
      3.5 stars

      Dreams, magic terrors, spells of mighty power, Witches, and ghosts who rove at midnight hour.

      I read this for the Classic Horror Halloween Bingo square.
      It's said this was written by a 19/20 yr old and within 10 weeks, which if true, is amazing. The format of having a main character, Ambrosio (the monk), and then having secondary characters branch off from him and tangentially going astray and telling their stories, only to have them all come together in the end, was extremely compelling. I was expecting more creepiness, it takes until the 50% mark for a ghost to appear:

      At length the Clock struck two. The Apparition rose from her seat, and approached the side of the bed. She grasped with her icy fingers my hand which hung lifeless upon the Coverture, and pressing her cold lips to mine, again repeated, "Raymond! Raymond! Thou art mine! Raymond! Raymond! I am thine! &c.----" She then dropped my hand, quitted the chamber with slow steps, and the Door closed after her. Till that moment the faculties of my body had been all suspended; Those of my mind had alone been waking. The charm now ceased to operate: The blood which had been frozen in my veins rushed back to my heart with violence: I uttered a deep groan, and sank lifeless upon my pillow.

      Until the last 30-20% the story is really about love, lust, and jealousy. As an atheist I don't hold religious individuals, rather they be in high ranking positions in the church, to a higher regard. I don't think it is any more crazy that a monk would give into his lust than an average non-religious male. (Not talking about Ambrosio's later desire to rape Antonia; he wants her and she doesn't want him. This is a different issue than him being turned on by Mathilda who willing wants to sleep with him) Religious individuals might find this story more, I don't know, worrisome because of the themes of non-infallibility regarding sin; no one is safe from the devil.

      I did really enjoy how the author played around with the themes of religious doctrine and the hypocrisy/corruption of its supposed devout leaders, men putting the blame on women for their failings, jealousy, and power. If you read this looking for a Gothic, I think you'd hit the gold mine with it's verbiage and tone. Like I mentioned, the more creepy scenes didn't have a strong presence until the ending with the Devil making a strong appearance:

      He appeared in all that ugliness which since his fall from heaven had been his portion: His blasted limbs still bore marks of the Almighty's thunder: A swarthy darkness spread itself over his gigantic form: His hands and feet were armed with long Talons: Fury glared in his eyes, which might have struck the bravest heart with terror: Over his huge shoulders waved two enormous sable wings; and his hair was supplied by living snakes, which twined themselves round his brows with frightful hissings. In one hand He held a roll of parchment, and in the other an iron pen. Still the lightning flashed around him, and the Thunder with repeated bursts, seemed to announce the dissolution of Nature.

      This story had some twists and turns with characters having some pretty intriguing life stories. I didn't find it as outlandish as some reviews led me to believe it was going to be (a lot mention how Ambrosio lusts and rapes his sister. He didn't know it was his sister during his obsession, so calling him incestuous seems a bit unfair). I read a small amount of horror stories and watch a ton of horror movies so maybe my creep/crazy bar is set too high but I did notice two movies were made about this and Netflix has the 2011 on DVD so I'll be adding it to the queue.

      Man was born for society. However little He may be attached to the World, He never can wholly forget it, or bear to be wholly forgotten by it.
    • 4/5
      This was amazingly ridiculous and I loved every minute of it
    • 5/5
      ‘’I must have your soul; must have it mine, and mine forever.’’ This is one of the pioneers of Gothic Fiction, a work that defined one of the most fascinating, demanding and controversial genres. A novel written in the end of the 18th century that shocked the reading audience of its time with its last, darkness and violence. But what about the contemporary readers? Well, a few hundred years later and ‘’The Monk’’ still continues to attract us. My first experience with Lewis’ novel took place during my studies, in an exciting course called ‘’The Bible in English Literature’’. Since then, I’ve overlooked reading it and I don’t know why. This Christmas, an amazing colleague gave me a collector’s edition as a Christmas present. I think she knows me well.In Madrid, Ambrosio is a charismatic monk who dazzles the congregation with fiery sermons. A younger monk, Rosario, is his faithful shadow and confidante. However, Rosario is actually a young lady who has no other way to be close to him except disguising herself as a boy. Ambrosio discovers the truth and succumbs, because he is weak in spirit and in flesh. When his attentions turn to a young lady from a noble family, all Hell breaks loose. Literally, I assure you…‘’The Monk’’ echoes Shakespeare and the Jacobite playwrights quite clearly. The cross-dressing, the scandalous love affairs, the ambivalent outcome, the extreme depiction of violence and punishment. The action is set in Spain, faithful to the stereotype which imagine the people of the Southern part of Europe as more vulnerable and governed by their passions, within a context that breaks apart the two institutions which are supposed to provide comfort and security. The Family and the Church. Dishonesty is common. ‘’Holy’’ men break their vows, noble sons try to trick virgins into their path, parents bargain their children away. It is a world far more terrifying than any satanic involvement could ever create and it is too real. Obsession leads to crimes and Lewis paints a dark portrait of a society that is corrupted to the core. Men and women blame God for their ‘’weak souls’’ while choosing a path that leads nowhere. The atmosphere is tangible with dark sensuality and violent lust and madness, as Lewis depicts a country and an era in all their attractive paranoia.We live in the time when violence and sex are always around, often used to shock but ending up being nothing. We aren’t easily shocked now, exposed to them from an outrageously young age through TV and video games. ‘’The Monk’’ may seem to us anything but shocking. Some may say that it stereotypically places the women in the archetypal roles of the Seductress or the Virgin. Yes, well, obviously! Take the story within its historical context and you’ll have the explanation. But wouldn’t this be too simplistic to consider?We love ‘’A Song of Ice and Fire’’ (most of us, at least….), we love Stephen King and Gothic Fiction has never been better both in Literature as well as in exceptional TV series like BBC’s ‘’Taboo’’. Violence, darkness and sexual implications don’t shock us, but dark stories of quality continue to fascinate us and will always do so. And by ‘’quality’’, I mean Literature, not mass-produced porn garbage...Darkness continues to rule many a life, forming a kind of obsession that may lead to horror and despair. This is why ‘’The Monk’’ still remains an iconic creation in the vastness of Literature. I would also wholeheartedly suggest the 2011 film version of the novel, starring Vincent Cassel at his best.
    • 4/5
      I loved this book. It took me awhile, not because it wasn't interesting, but bc I'm a slow reader.I've never read Gothic novels before, but this was a great start. The language was easy to understand, and I found it surprisingly modern for 1796. The plot and twists reminded me a bit of Count of Monte Cristo, but much more abridge of course. A little soap opera-y, as it tried to shock you and some parts so melodramatic it was cheesy, but fun and engaging nonetheless. At this point in history, it's a bit campy, but I can imagine that back then disdain of religion wouldv'e been read very differently. The characters ranged from boringly clean to most interestingly horrible. I knew most of the plot before I started and I was still shocked at the end. It wrapped up nicely, and I give kudos for a 19 year old writing this.Having the beautiful marbled paper cover and creamy pages of my Folio Society edition was icing on the cake.
    • 5/5
      "The Monk" certainly deserves its description as a Gothic classic. Hard to imagine a book written in the 18th century could be described as a "page-turner", yet it is. Not high literature or a stylistic masterpiece but without a doubt an amazing tale. Moreover as many people observe, the book was written in ten weeks by 19 year old. Simply amazing. The tale utilizes almost every conceivable plot twist and doesn't hesitate to borrow from earlier works of fiction. Despite its length the story doesn't drag. Still, the Gothic style and presentation may not appeal to every reader. But, if nothing else, "The Monk" deserves attention for its place in literary history. If the prospective reader accepts the genre and exercises a bit of patience, it is a very enjoyable and noteworthy read.
    • 4/5
      “remember that a moment past in your arms in this world, o’er pays an age of punishment in the next”.In the forward written by Stephen King, King describes this novel, written in 1796 as one of the forerunners of a new genre – novels written for pleasure reading, not merely (moral) instruction. It was one of the first of the gothic novels using dark themes of sex and violence and so was exceptionally shocking to its 18th century readership.And although not written to instruct, it is a scree against the Roman Catholic church, with monasteries and convents given particular criticism.The young monk, Ambrosio, is the epitome of manhood and monkhood. Handsome, charismatic, well spoken, and pious; his sermons draw throngs. But he falls into sin – pride in his accomplishments, idolatry of a painting, and then lust for a beautiful young woman, Rosario, who had disguised herself as a fellow monk in order to be near him.Rosario literally sells her soul to the devil for Ambrosio to be furthered in his evil plans to ensnare a beautiful, chaste young girl. In the end, Ambrosio himself must decide whether to sell his own soul, too.Scattered within are delightful folktales – robbers and murderers in the forest, and an escape by dressing up as a famous ghost only to find … well I won’t say. Not to mention handsome young cavaliers deeply in love with the objects of their affections and humorous byplays to lighten the mood.It’s not shocking to my 21st century sensibilities. Two hundred years down the line, we’ve seen these plots and evil plot devices before. Overall, I enjoyed it: partially for the period piece it is and its place in literature, but also for its storytelling.
    • 5/5
      Fantastic story of murder and lust. Nice twist at the end. The sub-plot with the imprisoned nun was fantastic and her discovery was quite stomach-turning.
    • 4/5
      This is a good book. It has its faults (the poems are a little obnoxious, some of the asides can go on for rather long, the main character has zero redeeming qualities), but it's quite a story. These days the content wouldn't be at all "shocking" but back when it was written would have been very different, Lewis was making a rather large statement with this novel. In any case, I enjoyed trying to keep ahead of the twists, attempting to guess the truth of various things. Usually I managed to guess correctly, but it wasn't the annoying sort of predictable, it was that Lewis gave bits of foreshadowing that hinted at things to come. It made it so you'd guess about the hints, and then have the anticipation of waiting for the events to progress and seeing if they'd go that way or not, and how exactly it would happen. Some of it was a little silly, and there's one character you just want to throttle, but overall a fun enjoyable read.
    • 4/5
      I'm not really sure what I think of this. I can see how some people would call it Gothic and some people would just call it weird. "Feel this heart, father! It is yet the seat of honour, truth, and chastity; if it beats tomorrow, it must fall a prey to the blackest crimes. Oh, let me then die to-day! ... Folded in your arms, I shall sink to sleep; your hand shall close my eyes for ever, and your lips receive my dying breath. And will you not sometimes think of me? Will you not sometimes shed a tear upon my tomb?"It does have Gothic elements, like ghosts and spooky castles/houses/abbeys/crypts/forests and innocent damsels in distress from fiendish villains. The Bleeding Nun in particular was delightfully spooky:"The spectre again pressed her lips to mine, again touched me with her rotting fingers and, as on her first appearance, quitted the chamber as the clock told 'two'."But it also has some real Horror elements, like violent murders and crypts filled with rotting corpses. And there were some things that reminded me of Sade, like the religious cynicism and rapes. (Edit to add: after looking at a few commentaries, it looks like the extra violence was inspired by the German school of Gothic stories, and that Sade did use this as an inspiration. So...)"Redouble your outward austerity, and thunder out menaces against the errors of others, the better to conceal your own. ... she is unworthy to enjoy love's pleasures, who has not wit enough to conceal them.""The prudent mother, while she admired the beauties of the sacred writings [of the Bible], was convinced that, unrestricted, no reading more improper could be permitted a young woman."I don't know. It was interesting, but I think I would have related to it more if I'd read it when I was 20 (about the age of the author when he wrote it). At this point in my life, I like my Gothic stuff to be a bit more self-aware or goofy, and my social commentary to be a bit more hopeful.
    • 4/5
      Wow - this book was a pleasant surprise. Written in the late 1700's, I was anticipating long detailed descriptions and sentences that are hard to parse. Instead, this was gothic horror at its scariest. The story is really about Ambrosio, a well-respected monk and his fall from grace. Lots of action, good romance and quite an incredible cast of characters, including the Bleeding Nun and Lucifer himself. Very fun.
    • 5/5
      I somehow managed to get through this much of my life, including a college class in gothic literature; without ever reading this book. How? It was great!
      Published in 1796 and written by a 19-year-old, it was a massive, bestselling success in its day - and it really still holds up as a fun, entertaining read.

      This particular edition had the most *awful* introduction EVER, though. (I will not dignify the author of said intro by even mentioning his name, which I had never heard before anyway.) It was snide, condescending, and totally missed the point, by criticizing gothic literature as a genre, Lewis as a writer and the Monk in general - and damning it with faint praise, for the WRONG things. (the intro was written in the '50's, before the new attention the gothic genre has gotten in academia).
      Anyway, the intro-writer was trying to judge the book as a Work of Literature, and an Exploration of the Fall of a Virtuous Man, and all that kind of crap.

      It's NOT.

      It's an intentionally blasphemous, often hilarious, tragically dramatic tale, full of sorcery, devil-worship, ill-fated (and not-so-ill-fated) love, scandal, murder, ghosts, the Inquisition, cruel nuns, spooky castles, exotic locales, torture, dungeons, beautiful maidens... and of course, the particularly evil titular Monk.
      Yes, there's some pointed commentary of the hypocrisy of many religious types, as well as some quite funny social commentary (which often seems AMAZINGLY apropos for today, considering the age of the book) - but this was a book written to entertain - and titillate. It's definitely not as shocking today as it probably was then - and the plot is not quite as tightly sewn together as modern editors demand - but it's still a rousing good read.
    • 3/5
      This novel is all about Christian, specifically Catholic, sexual hysteria. Sex seems to determine everyone's motivation in the first volume. This makes sense when you consider that it was written by a nineteen year old for whom these obsessions were no doubt a daily occurence. Fortunately for us, he has managed to sublimate them into the form of a novel. (Which puts me in mind of E.M. Forster, who, when touched on the ass by an admirer at a tender age, promptly went home and wrote Maurice.)

      A duenna and her charge arrive in Madrid from provincial Mucia some time in the very late eighteenth century. For some reason no doubt to be made clear later, they arrive at a church where the much talked about Father Ambrosio is to speak. The father is a paragon of virtue. He has spent his thirty years entirely immersed in studies and prayer at the local Capuchin monastery. While waiting for the good father to arrive the duenna, Leonella, who is fifty-one, and her charge, Antonia, who is fifteen, are questioned by two young men and their tale of woe is gradually revealed. This is essentially a tale of Antonia's mother, seduced by a libertine, who runs away with her to the West Indies where thirteen years later he dies leaving her penniless so she must return to Spain with baby Antonia in tow to throw herself on the mercy of her outraged father.

      The wholly pure Ambrosio then spends the next sixty pages undergoing two events: the first is his heartless condemnation of a nun who has allowed herself to be seduced. She is with child but Ambrosio gives her into the hands of the prioress of her order for purposes of punishment; the second event is Ambrosio's seduction by a woman disguised as a young man, one Rosario, who has shamelessly broken the sanctity of the monastery. That at least is how Ambrosio sees it before he eventually gives way to godless and all too enjoyable rutting with the woman. These pages are tumescent with hot-blooded satanic sex. It is hard to believe they first saw the light of day in 1796. What an earth-shattering fireball this novel must have been then.

      One of the gentlemen entertaining the two new arrivals at the church is a nobleman, Lorenzo. It is his sister, Agnes, who has just been sacrificed by Father Ambrosio to the prioress. Now we enter into a long divagation narrated by the sister's nobleman lover, the Marquis de las Cisternas. First there is the interlude in the forest outside Strasborg in which the Marquis walks into a nest of banditti who wish him only ill. This is a vividly described section with lots of action and blood. At extraordinary length, the Marquis survives, as he must if we are to get the story of how Agnes becomes trapped into entering a convent by a guardian jealous of her relationship with the Marquis. This section involves some decisions on the part of the Marquis that no adult man with any romantic experience would make. In other words, the crudeness here really smacks of a nineteen year old writing his first novel. Yet the vivacity of the writing somehow continues to hold the reader despite these howlers.

      Later, we move on to Ambrosio's repeated sexcapades with Matilda (Rosario). The prioress's lie to brother Lorenzo that his sister Agnes has died in childbirth. Father Ambrosio as he overhears the prioress's evil plans for punishing Agnes on his way to an assignation with Matilda. Father Ambrosio's attempted seduction of a the young Antonia, innocent of carnal knowledge, and his deal with the devil to gain access to her lily-white body. The satisfying denouement I will not describe. Suffice it to say that Lewis's writing becomes more assured as he proceeds. By chapter 7, more than half way through, his writing becomes, as John Berryman discusses in his introduction, "passionate and astonishing."
    • 4/5
      The book is considered one of the first Gothic novels and one that is "male Gothic" specializing in horror (according to Wikipedia) and was published in 1796 by Matthew Gregory Lewis (English Author). This story of scandalous behavior may have been even shocking at the time but not new. In the end, it reminded me of events found in the Bible and Greek literature. There really is a lot of characters and their intertwining lives was sometimes hard to keep track of but in the end it did all come together and centered on the main character of the Monk known as Ambrosio. He is about 30 years of age and has been raised in the Abbey his entire life and a favorite of all. It is the story of his demise because of the sin of pride. Matilda is known as Rosario, a boy, who gains access to Ambrosio through her disguise as a boy. She is the character of wickedness in the book and of supernatural forces and magical powers. Matilda has too much power and Ambrosio is weak. The book has a great deal of romance element with Matilda's love for Ambrosio, Agnes's love of Don Raymond, Don Lorenzo's love for Antonia. The novel is full of evil characters; the Prioress who misuses her power in ways that do not fit her station, the Monk with his sin of pride, lust and murder and others. The book is set during the inquisition and includes references to the tortures and auto-da-fé. The cripts, mouldering corpses and relics play parts to make the book truly a Gothic work.
    • 4/5
      “The Monk” is like nothing else I’ve ever read. Although it’s poorly constructed in terms of paragraphing and certain structural elements – this was written in the 1790s, after all – the unusual yet original plot, its diverse themes, plus a rare cast of characters make up for any defects.Every so often the author injects a line – usually in dialogue – that is such a surprise it made me pause with raised eyebrows; a “Did I read that right?” type of moment. Or, if you prefer, a “Bloody hell!” type of moment. I mean this in a positive way. Matthew Lewis could write the most unexpected twists in a tale.The tone for the most part is a sinister one, yet every so often humour pops up to lighten the tone. We have sexual encounters and pure horror. “The Monk” is a blend of many themes that complement each other well.
    • 5/5
      Ah, there’s nothing like a good irreverent read over the holidays. The Monk has a plot that is “convenient” and soap operatic at times, but it’s great fun to read, containing stories within the story, and I was impressed with the fact that it was written by a 19-year-old in 1796. It can be read as an indictment of Catholicism, as commentary on the nature of men and women, a morality story, or as Gothic drama. It’s Romanticism influenced by Lewis’s exposure to Germany’s Sturm und Drang movement, and yet also infused with brutal realism and fantasy. Something for everybody! :P
    • 5/5
      Gothic novels aren't typically my genre, but maybe I should start reading them more often... I thoroughly enjoyed Matthew Lewis' "The Monk."Sure, it's book filled with depravity-- apparently the first book ever written with a priest as its villain. The book is heaped with every horror imaginable-- yet still manages to provide an entertaining story with plenty of twists and turns.(For anyone reading this edition, do not read the book jacket... it inexplicably gives away the final horrors that Lewis spent so much time building up to. Odd decision... this was the 2002 edition by Oxford University Press.)
    • 4/5
      I can't decide if this is mock-goth or just really over-the-top-goth. I know Gothic is extreme by definition, but this one includes every cliché of the genre you can think of, plus a few elements that read really modern and self-aware. Kind of like late noir films, except with nuns, ghosts and dungeons (so, way better than late noir films).

      The thesis, inasmuch as there is one, is rather revolutionary for its time: ignorance isn't virtue, it's just ignorance. So basically, integrists who go around judging others are just scared, repressed people who should get over themselves and join the rest of us in, you know, life. And I thought I had patented that idea.
    • 5/5
      Finally, some fun in the Enlightenment. The Monk is a blast, a page-turner, chock full of insane plot twists and sinning.

      It can't be accused of being terribly well-written, so you know that old debate between eloquence and plot? If you tip heavily toward eloquence, you might not like this as much.

      But for me, clawing my way out of a pit of Oh-So-Literary books starved for plot...it's just what I needed. The only 18th-century book that I had more fun with was Voltaire's Candide.

      This is also the only 18th-century book I've read that includes magic. All the others have been resolutely set in the real world; it was surprising to me to realize that we were actually going to be horsing around with ghosts and demons here. Weird, huh? It could certainly be that I've just missed all the magic - I'm sure this can't be the only book to include it - but in general the 1700s seemed to completely eschew the supernatural. And it's not like they had no example: Shakespeare used magic in several of his plays, and The Monk is an exploration of the Faust legend that he probably heard about from Marlowe. (Some specific similarities in a couple of key scenes point to Marlowe.) I'm not a huge fan of magic-y stuff anyway, so I doubt this is what made me dislike Enlightenment literature so much; just thought it was interesting.

      ETA: Oh, it's Gothic. Stemming from Horace Walpole's 1767 "Castle of Otrando." Okay.
    • 4/5
      What an entertaining book, overloaded and packed with the conventions of gothic horror. Admittedly, I laughed my way through some stuff, especially the long narrations by some characters, the way events seemed to go from silly to absurd, BUT, it did justice to its genre while managing to have a good poke at hypocrisy and blind faith. The ending was awesome. I could have done without the lengthy poems, but otherwise I'm so glad I read this.
    • 4/5
      This book is marvelously ludicrous. There is so much going on, and most of it is sordid. Nuns having babies? Check. Nuns locked in cellars by other nuns? Check. Priests having affairs? Check. Demons? Check. As if you needed more convincing, the novel also features a description of the afterlife, so if you were wondering what happens, just pick this one up.

      Speaking seriously, this work is a lovely example of how the earlier novel looked when it was aimed at a certain segment of society, which would have been educated but not necessarily highly affluent people (not that the highly affluent didn't indulge, I am sure they did). It's also important to remember that books like these found their way into early circulating libraries, where they would have been presented in three installments (hence the length!). This book is 18th century smut. It's the Janet Evanovich of their time (no offense intended, smut has its place!). It's interesting that, in the 18th c., even smut had to have a moral lesson, as The Monk does. Fascinating.

      As a final note, I do think that the biggest hold up in the reading process is the lack of what we as modern readers would consider a standard plot. The plot as we now know it is a relatively modern invention, so this novel offers good perspective.

      For a novel of approximately the same time period with a different audience and purpose in mind, try Burney's Evelina.
    • 4/5
      Despite its antiquity (1796), Lewis's sordid tale still holds up after all these years. And its tale of religious debauchery is still pretty timely, and probably always will be. Turn down your threshold for melodrama and enjoy.
    • 4/5
      Published two years after Ann Radcliffe's The Mysteries of Udolpho, The Monk is still very much a gothic novel but it's also a very different style of gothic novel compared to Radcliffe's Udolpho.Whilst Radcliffe's novel focuses on creating a sense of terror in its readers (defined by Radcliffe as something that 'expands the soul, and awakens the facilities to a high degree of life'), The Monk seems intent on creating a sense of horror instead (something which 'contracts, freezes, and nearly annihilates them' according to Radcliffe). Where Radcliffe inspires terror by leaving things up to the reader's imagination, Lewis inspires horror by describing things in all their gory detail.This, amongst other things, makes Lewis' book a much more graphic and shocking read and it wasn't really a surprise to find in the introduction that Lewis had to remove all mentions of sexual activity, seductions, murder attempts and descriptions of unclothed female bodies as well as provocative words like 'lust' in later editions of the book.Perhaps because Lewis spells things out more for his readers, this felt like a less demanding read than The Mysteries of Udolpho; it was much easier to get into and moved a lot faster. Having said that, I think my personal preference is for Radcliffe's style of gothic writing rather than Lewis'.Radcliffe wrote The Italian in 1797 as a reply to Lewis' The Monk and The Italian is going to be my next gothic read.
    • 4/5
      It's no coincidence that the opening epigraph of Lewis' one and only novel is from Shakespeare's _Measure for Measure_. Both works have pillars of public moral rectitude collapsing after encountering their first major temptation of carnality. Monk Ambrosio figures in for a penny, in for a pound, and starts the slide from mere sex to murder, incest, despair, and damnation. Lewis' streamlined prose abandons the detailed descriptions of Gothic architecture and Alpine vistas favored by his model Ann Radcliffe. And, in a plot of not two but four frustrated lovers, he crams many a gruesome incident and image. No Radcliffean rationalism for Lewis. Despite frequent criticms of the superstition of Spain during the Inquistion, this plot revels in the supernatural with curses, ghosts, Bleeding Nuns, Wandering Jews, and the Prince of Demons himself. Yet, despite the melodrama, there is an air of psychological realism in how Monk Ambrosio rationalizes his escalation of evil. Perhaps more disturbing is the mind of Matilda, his first lover, and her willingness to advise and aid his evil even after he has sexually spurned her. Stephen King's introduction is, like many such introductions to classic works, an unfortunate spoiler of much of the plot. However, most of his observations are valid and interesting though I'm dubious that all English novels before Horace Walpole's _The Castle of Otranto_ had moral purposes. (Lewis novel seems to have no serious moral statement except, perhaps, that the chaste life of the convent and monastery is unnatural.) Oxford University Press seems to have taken the typesetting of this edition from an earlier one. A lot of asterisks show up in the text without accompanying footnotes. A minor annoyance to a novel that holds up well after more than 200 years.
    • 3/5
      Quite different than most other "classics" that I've read. This story, while very slightly still showing it's age, could easily have been written for modern times. Except for the large side-story midway through, I enjoyed reading about the downfall of the Abbot Ambrosio. Quite a gothic read for sure!
    • 4/5
      Don't be scared off by the book's 18th century publication date: this story is as shocking and titillating as anything in modern lit. The Monk has it all: scandal, conspiracy, murder, villainy, hypocrisy, incest, rape, betrayal, ghosts, demons, corpses, and enough gruesome detail to rival an episode of CSI.The story focuses on the corruption and eventual destruction of Ambrosio, "The Man of Holiness", a Capuchin monk whose outward piety conceals vanity and a lust for power, from which seeds grow spiraling tendrils of evil that eventually destroy him, with a little help from Old Smokey himself. (Lucifer actually makes a juicy cameo appearance at the end – don’t miss it!).Love how "meaty" the story is: within the main narrative, Lewis embeds digressions and side stories that add to the entertainment and general spookiness of the story. Caught up in the main narrative (in which the Brave Cavalier Lorenzo attempts to woo the Innocent Virgin Antonia; Noble Raymond attempts to rescue his True Love Agnes from the schemes of Villainous Family Members and an Evil Prioress; and the Mad Monk Ambrosio is gradually corrupted), you may be tempted to skip these parts, but don't! Elvira's sad history, the story of Lorenzo’s brush with bloodthirsty bandits in the forests of Germany, and especially the tale of the Bleeding Nun and the Wandering Jew are fully as diverting as the main narrative. Love, too, how the author incorporates all the stereotypical elements of gothic fiction – mad monks, wicked nuns, brave knights, naïve virgins, scheming family members, crypts, corpses, devils, and sorcery – while still managing to create a story that feels fresh, literate, and well-crafted. Lewis may have picked a dubious genre, but there’s nothing dubious about his plotting or prose. Indeed, Ambrosio’s decline is presented in so gradual and logical a fashion, may shock you almost as much as it shocks Ambrosio at the end to realize how far he’s fallen, and how fast. Finally, love how the book lays the foundation for so much literature that’s come since. Reading along, you’ll catch definite whiffs of Bronte, Poe, Hawthorn, Byron, Eco, and Perez-Reverte, among others. Were I a scholar, would love to research how this text provides a bridge between the old-style horror of medieval morality plays and modern lit.Because, beneath the shock and titillation, this is at its core a morality play, in which evildoers are punished and virtue is rewarded. (Except for a few necessarily tragic consequences, because evil can’t happen without victims, after all). A little spooky, a little melodramatic, a lot entertaining, and good triumphs over evil yet again … what more do you want from a book?
    • 4/5
      This book takes a chapter or two to get into, although ti's relatively fast paced when you do. I think the plot moves along nicely and is really interested. I actually enjoyed reading it. I also appreciated Lewis' descriptive style. My only complaint is that at times it's hard to follow who's who.
    • 4/5
      Having just completed The Name of the Rose I thought I would continue the monastery theme with the Monk. My naive self even thought they would be pretty similar in content. Whereas The Name of the Rose is an excellent and well crafted mystery, The Monk is a creepy and suspenseful horror novel. The novel follows the story of two main sets of characters; the monk, Ambrosio and his love Antonia and Lorenzo and his sister Agnes. The two sets are connected in a variety of ways but for most of the story are kept separate. This is an excellent plot device as it juxtaposes the evil and corruption of Ambrosio and the honour and fidelity of Lorenzo. Ambrosio is the hero of the city. A pious and highly respected monk, he is the model that everyone else looks too. Even heroes, however, can be tempted and Ambrosio gives in to these temptations. Before he knows it he is overcome by passions and moves further and further away from the man Madrid thinks he is. He attention becomes fixed on Antonia, a young virgin in the city and become intent on her corruption. Lorenzo on the other hand has just come to Madrid. He meet Antonia and is determined to make her his bride. Before he can, however, he gets caught up trying to rescue his unfortunate sister from her covenant, in order to reunite her with her husband-to-be. Lorenzo is only working for the good of his sister (and her fiancee) whereas Ambrosio is only working for the destruction of Antonia. It's hard to miss who the good guy and bad guy are supposed to be. The book isn't completely straightforward though! There are some good twists and surprises at the end.The descriptions and dialogue in this novel, though flowery, are powerful and you can relate the settings and understand the motivation of the characters. Lewis' writing is poetic and I often found myself reading for much longer than I intended to. A couple times I found he got a little carried away and took the reader away from the main plot(s). The back-story of Agnes and her fiancee also seemed to go on for longer than necessary.Overall a beautifully written novel with some heroic and very creepy characters. It's a novel that's going to sit with me for awhile and I think will reveal even more on a second reading. The depiction of Ambrosio fall for piety to ruin is truly disturbing and makes one question their own motivations and ability to resist temptation.
    • 4/5
      This book was simultaneously supremely entertaining and quite disturbing. It's definitely not for the faint of heart- it has quite its share of rape, incest, torture, deals with Satan, murder, etc... The main character is Father Ambrosio, an ultra-pious monk turned raving sex fiend. It also features a couple of gallant, knightly types- Raymond and Lorenzo- and their lady loves, Agnes and Antonia, respectively. There's also the beautiful Matilda, who turns Ambrosio to the Dark Side, so to speak. The story itself focuses on Ambrosio's fall from grace, Don Raymond's attempts to rescue Agnes from crazy murder nuns, and Antonia's various misfortunes, which culminate (SPOILERZ) in her being raped and murdered by her big brother, Ambrosio. Cheers!This book does contain some rather sizable doses of anti-Catholicism and misogyny tossed into the mix, but, you know, times were different back then... Also, some of plot twists seemed a bit contrived even with the context considered, but overall it's a very enjoyable read. The language is a tad old-fashioned, but, even so, it's quite difficult to put down.
    • 5/5
      The 500 pages breeze by in this ridiculous Gothic soap opera.

    Book preview

    The Monk - Matthew Gregory Lewis

    EDITIONS

    CHAPTER I

    Lord Angelo is precise;

    Stands at a guard with envy; scarce confesses

    That his blood flows, or that his appetite

    Is more to bread than stone.

    —Measure for Measure

    SCARCELY HAD the abbey-bell tolled for five minutes, and already was the church of the Capuchins thronged with auditors. Do not encourage the idea that the crowd was assembled either from motives of piety or thirst of information. But very few were influenced by those reasons; and, in a city where superstition reigns with such despotic sway as in Madrid, to seek for true devotion would be a fruitless attempt. The audience now assembled in the Capuchin church was collected by various causes, but all of them were foreign to the ostensible motive. The women came to show themselves—the men, to see the women: some were attracted by curiosity to hear an orator so celebrated; some came, because they had no better means of employing their time till the play began; some, from being assured that it would be impossible to find places in the church; and one half of Madrid was brought thither by expecting to meet the other half. The only persons truly anxious to hear the preacher were a few antiquated devotees and half a dozen rival orators determined to find fault with and ridicule the discourse. As to the remainder of the audience, the sermon might have been omitted altogether, certainly without their being disappointed and very probably without their perceiving the omission.

    Whatever was the occasion, it is at least certain that the Capuchin church had never witnessed a more numerous assembly. Every corner was filled, every seat was occupied. The very statues which ornamented the long aisles were pressed into the service. Boys suspended themselves upon the wings of cherubims; St. Francis and St. Mark bore each a spectator on his shoulders; and St. Agatha found herself under the necessity of carrying double. The consequence was that, in spite of all their hurry and expedition, our two new comers, on entering the church, looked round in vain for places.

    However, the old woman continued to move forwards. In vain were exclamations of displeasure vented against her from all sides; in vain was she addressed with: ‘I assure you, Segnora, there are no places here.’ ‘I beg, Segnora, that you will not crowd me so intolerably!’ ‘Segnora, you cannot pass this way. Bless me! How can people be so troublesome?’—The old woman was obstinate, and on she went. By dint of perseverance and two brawny arms she made a passage through the crowd, and managed to bustle herself into the very body of the church at no great distance from the pulpit. Her companion had followed her with timidity and in silence, profiting by the exertions of her conductress.

    ‘Holy Virgin!’ exclaimed the old woman, in a tone of disappointment, while she threw a glance of inquiry round her; ‘Holy Virgin! What heat! What a crowd! I wonder what can be the meaning of all this. I believe we must return; there is no such thing as a seat to be had, and nobody seems kind enough to accommodate us with theirs.’

    This broad hint attracted the notice of two cavaliers, who occupied stools on the right hand and were leaning their backs against the seventh column from the pulpit. Both were young, and richly habited. Hearing this appeal to their politeness pronounced in a female voice, they interrupted their conversation to look at the speaker. She had thrown up her veil in order to take a clearer look round the cathedral: her hair was red, and she squinted. The cavaliers turned round, and renewed their conversation.

    ‘By all means,’ replied the old woman’s companion; ‘by all means, Leonella, let us return home immediately; the heat is excessive, and I am terrified at such a crowd.’

    These words were pronounced in a tone of unexampled sweetness. The cavaliers again broke off their discourse, but for this time they were not contented with looking up; but started involuntarily from their seats, and turned themselves towards the speaker.

    The voice came from a female, the delicacy and elegance of whose figure inspired the youths with the most lively curiosity to view the face to which it belonged. This satisfaction was denied them. Her features were hidden by a thick veil; but struggling through the crowd had deranged it sufficiently to discover a neck which for symmetry and beauty might have vied with the Medicean Venus. It was of the most dazzling whiteness, and received additional charms from being shaded by the tresses of her long fair hair, which descended in ringlets to her waist. Her figure was rather below than above the middle size: it was light and airy as that of an Hamadryad. Her bosom was carefully veiled. her dress was white; it was fastened by a blue sash, and just permitted to peep out from under it a little foot of the most delicate proportions. A chaplet of large grains hung upon her arm, and her face was covered with a veil of thick black gauze. Such was the female to whom the youngest of the cavaliers now offered his seat, while the other thought it necessary to pay the same attention to her companion.

    The old lady with many expressions of gratitude, but without much difficulty, accepted the offer, and seated herself; the young one followed her example, and made no other compliment than a simple and graceful reverence. Don Lorenzo (such was the cavalier’s name whose seat she had accepted) placed himself near her; but first he whispered a few words in his friend’s ear, who immediately took the hint, and endeavoured to draw off the old woman’s attention from her lovely charge.

    ‘You are doubtless lately arrived at Madrid?’ said Lorenzo to his fair neighbour. ‘It is impossible that such charms should have long remained unobserved; and, had not this been your first public appearance, the envy of the women and adoration of the men would have rendered you already sufficiently remarkable.’

    He paused, in expectation of an answer. As his speech did not absolutely require one, the lady did not open her lips. After a few moments, he resumed his discourse:

    ‘Am I wrong in supposing you to be a stranger to Madrid?’

    The lady hesitated; and at last, in so low a voice as to be scarcely intelligible, she made shift to answer: ‘No, Segnor.’

    ‘Do you intend making a stay of any length?’

    ‘Yes, Segnor.’

    ‘I should esteem myself fortunate were it in my power to contribute to making your abode agreeable: I am well known at Madrid, and my family has some interest at court. If I can be of any service, you cannot honour or oblige me more than by permitting me to be of use to you.’ ‘Surely,’ said he to himself, ‘she cannot answer that by a monosyllable; now she must say something to me.’

    Lorenzo was deceived, for the lady answered only by a bow.

    By this time he had discovered that his neighbour was not very conversable; but, whether her silence proceeded from pride, discretion, timidity, or idiotism, he was still unable to decide.

    After a pause of some minutes, ‘It is certainly from your being a stranger,’ said he, ‘and as yet unacquainted with our customs that you continue to wear your veil. Permit me to remove it.’

    At the same time he advanced his hand towards the gauze; the lady raised hers to prevent him.

    ‘I never unveil in public, Segnor.’

    ‘And where is the harm, I pray you?’ interrupted her companion somewhat sharply; ‘Do not you see, that the other ladies have all laid their veils aside—to do honour, no doubt, to the holy place in which we are? I have taken off mine already; and surely, if I expose my features to general observation, you have no cause to put yourself in such a wonderful alarm! Blessed Maria! Here is a fuss and a bustle about a chit’s face! Come, come, child! uncover it! I warrant you that nobody will run away with it from you—’

    ‘Dear aunt, it is not the custom in Murcia—’

    ‘Murcia, indeed! Holy St. Barbara, what does that signify? You are always putting me in mind of that villainous province. If it is the custom in Madrid, that is all that we ought to mind; and therefore I desire you to take off your veil immediately. Obey me this moment, Antonia, for you know I cannot bear contradiction.’

    Her niece was silent, but made no further opposition to Don Lorenzo’s efforts, who, armed with the aunt’s sanction, hastened to remove the gauze. What a seraph’s head presented itself to his admiration! Yet it was rather bewitching than beautiful; it was not so lovely from regularity of features as from sweetness and sensibility of countenance. The several parts of her face considered separately, many of them were far from handsome, but when examined together the whole was adorable. Her skin, though fair, was not entirely without freckles; her eyes were not very large, nor their lashes particularly long; but then her lips were of the most rosy freshness; her fair and undulating hair, confined by a simple ribband, poured itself below her waist in a profusion of ringlets; her neck was full and beautiful in the extreme; her hand and arm were formed with the most perfect symmetry; her mild blue eyes seemed an heaven of sweetness, and the crystal in which they moved sparkled with all the brilliance of diamonds. She appeared to be scarcely fifteen; an arch smile, playing round her mouth, declared her to be possessed of liveliness, which excess of timidity at present repressed. She looked round her with a bashful glance; and, whenever her eyes accidently met Lorenzo’s, she dropped them hastily upon her rosary; her cheek was immediately suffused with blushes, and she began to tell her beads, though her manner evidently showed that she knew not what she was about.

    Lorenzo gazed upon her with mingled surprise and admiration; but the aunt thought it necessary to apologise for Antonia’s mauvaise honte.

    ‘’Tis a young creature,’ said she, ‘who is totally ignorant of the world. She has been brought up in an old castle in Murcia, with no other society than her mother’s; who, God help her, has no more sense, good soul, than is necessary to carry her soup to her mouth; yet she is my own sister, both by father and mother.’

    ‘And has so little sense?’ said Don Christoval, with feigned astonishment. ‘How very extraordinary!’

    ‘Very true, Segnor; is it not strange? However, such is the fact; and yet only to see the luck of some people! A young nobleman, of the very first quality, took it into his head that Elvira had some pretensions to beauty. As to pretensions, in truth she had always enough of them; but as to beauty—if I had only taken half the pains to set myself off which she did! But this is neither here nor there. As I was saying, Segnor, a young nobleman fell in love with her, and married her unknown to his father. Their union remained a secret near three years; but at last it came to the ears of the old Marquis, who, as you may well suppose, was not much pleased with the intelligence. Away he posted in all haste to Cordova, determined to seize Elvira, and send her away to some place or other, where she would never be heard of more. Holy St. Paul! How he stormed on finding that she had escaped him, had joined her husband, and that they had embarked together for the Indies! He swore at us all, as if the evil spirit had possessed him; he threw my father into prison—as honest a painstaking shoemaker as any in Cordova; and, when he went away, he had the cruelty to take from us my sister’s little boy, then scarcely two years old, and whom, in the abruptness of her flight, she had been obliged to leave behind her. I suppose that the poor little wretch met with bitter bad treatment from him, for in a few months after we received intelligence of his death.’

    ‘Why, this was a most terrible old fellow, Segnora!’

    ‘Oh, shocking!—and a man so totally devoid of taste! Why, would you believe it, Segnor?—when I attempted to pacify him, he cursed me for a witch, and wished that, to punish the count, my sister might become as ugly as myself! Ugly, indeed! I like him for that.’

    ‘Ridiculous!’ cried Don Christoval. ‘Doubtless the Count would have thought himself fortunate had he been permitted to exchange the one sister for the other.’

    ‘Oh, Christ! Segnor, you are really too polite. However, I am heartily glad that the Condé was of a different way of thinking. A mighty pretty piece of business to be sure Elvira has made of it! After broiling and stewing in the Indies for thirteen long years, her husband dies, and she returns to Spain without a house to hide her head or money to procure her one! This Antonia was then but an infant, and her only remaining child. She found that her father-in-law had married again, that he was irreconcilable to the Condé, and that his second wife had produced him a son, who is reported to be a very fine young man. The old Marquis refused to see my sister or her child; but sent her word that, on condition of never hearing any more of her, he would assign her a small pension, and she might live in an old castle which he possessed in Murcia. This had been the favourite habitation of his eldest son; but, since his flight from Spain, the old Marquis could not bear the place, but let it fall to ruin and confusion. My sister accepted the proposal; she retired to Murcia, and has remained there till within the last month.’

    ‘And what brings her now to Madrid?’ inquired Don Lorenzo, whom admiration of the young Antonia compelled him to take a lively interest in the talkative old woman’s narration.

    ‘Alas! Segnor, her father-in-law being lately dead, the steward of his Murcian estates has refused to pay her pension any longer. With the design of supplicating his son to renew it, she is now come to Madrid; but I doubt that she might have saved herself the trouble. You young noblemen have always enough to do with your money, and are not very often disposed to throw it away upon old women. I advised my sister to send Antonia with her petition; but she would not hear of such a thing. She is so obstinate! Well, she will find herself the worse for not following my counsels: the girl has a good pretty face, and possibly might have done much.’

    ‘Ah, Segnora!’ interrupted Don Christoval, counterfeiting a passionate air, ‘if a pretty face will do the business, why has not your sister recourse to you?’

    ‘Oh! Jesus! My Lord, I swear you quite overpower me with your gallantry! But I promise you that I am too well aware of the danger of such expeditions to trust myself in a young nobleman’s power! No, no; I have as yet preserved my reputation without blemish or reproach, and I always knew how to keep the men at a proper distance.’

    ‘Of that, Segnora, I have not the least doubt. But permit me to ask you, have you then any aversion to matrimony?’

    ‘That is a home question. I cannot but confess, that if an amiable cavalier was to present himself—’

    Here she intended to throw a tender and significant look upon Don Christoval, but, as she unluckily happened to squint most abominably, the glance fell directly upon his companion. Lorenzo took the compliment to himself, and answered it by a profound bow.

    ‘May I inquire,’ said he, ‘the name of the Marquis?’

    ‘The Marquis de las Cisternas.’

    ‘I know him intimately well. He is not at present in Madrid, but is expected here daily. He is one of the best of men; and if the lovely Antonia will permit me to be her advocate with him, I doubt not my being able to make a favourable report of her cause.’

    Antonia raised her blue eyes, and silently thanked him for the offer by a smile of inexpressible sweetness. Leonella’s satisfaction was much more loud and audible. Indeed, as her niece was generally silent in her company, she thought it incumbent upon her to talk enough for both: this she managed without difficulty, for she very seldom found herself deficient in words.

    ‘Oh, Segnor!’, she cried, ‘you will lay our whole family under the most signal obligations! I accept your offer with all possible gratitude, and return you a thousand thanks for the generosity of your proposal. Antonia, why do you not speak, child? While the cavalier says all sorts of civil things to you, you sit like a statue, and never utter a syllable of thanks, either bad, good, or indifferent!’

    ‘My dear aunt, I am very sensible that—’

    ‘Fie, niece! How often have I told you that you never should interrupt a person who is speaking! When did you ever know me do such a thing? Are these your Murcian manners? Mercy on me, I shall never be able to make this girl any thing like a person of good breeding. But pray, Segnor,’ she continued, addressing herself to Don Christoval, ‘inform me, why such a crowd is assembled to-day in this cathedral.’

    ‘Can you possibly be ignorant that Ambrosio, abbot of this monastery, pronounces a sermon in this church every Thursday? All Madrid rings with his praises. As yet he has preached but thrice, but all who have heard him are so delighted with his eloquence that it is as difficult to obtain a place at church as at the first representation of a new comedy. His fame certainly must have reached your ears?’

    ‘Alas, Segnor, till yesterday I never had the good fortune to see Madrid; and at Cordova we are so little informed of what is passing in the rest of the world that the name of Ambrosio has never been mentioned in its precincts.’

    ‘You will find it in every one’s mouth at Madrid. He seems to have fascinated the inhabitants; and, not having attended his sermons myself, I am astonished at the enthusiasm which he has excited. The adoration paid him both by young and old, by man and woman, is unexampled. The grandees load him with presents; their wives refuse to have any other confessor; and he is known through all the city by the name of The man of holiness.’

    ‘Undoubtedly, Segnor, he is of noble origin?’

    ‘That point still remains undecided. The late superior of the Capuchins found him while yet an infant at the abbey-door: all attempts to discover who had left him there were vain, and the child himself could give no account of his parents. He was educated in the monastery, where he has remained ever since. He early showed a strong inclination for study and retirement; and, as soon as he was of a proper age, he pronounced his vows. No one has ever appeared to claim him, or clear up the mystery which conceals his birth; and the monks, who find their account in the favour which is shown to their establishment from respect to him, have not hesitated to publish that he is a present to them from the Virgin. In truth, the singular austerity of his life gives some countenance to the report. He is now thirty years old, every hour of which period has been passed in study, total seclusion from the world, and mortification of the flesh. Till these last three weeks, when he was chosen superior of the society to which he belongs, he had never been on the outside of the abbey-walls. Even now he never quits them except on Thursdays, when he delivers a discourse in this cathedral, which all Madrid assembles to hear. His knowledge is said to be the most profound, his eloquence the most persuasive. In the whole course of his life he has never been known to transgress a single rule of his order; the smallest stain is not to be discovered upon his character; and he is reported to be so strict an observer of chastity that he knows not in what consists the difference of man and woman: the common people, therefore, esteem him to be a saint.’

    ‘Does that make a saint?’ inquired Antonia. ‘Bless me, then am I one.’

    ‘Holy St. Barbara!’ exclaimed Leonella, ‘what a question! Fie, child, fie! these are not fit subjects for young women to handle. You should not seem to remember that there is such a thing as a man in the world, and you ought to imagine everybody to be of the same sex with yourself. I should like to see you give people to understand that you know that a man has no breasts, and no hips, and no. . . . . .’

    Luckily for Antonia’s ignorance, which her aunt’s lecture would soon have dispelled, an universal murmur through the church announced the preacher’s arrival. Donna Leonella rose from her seat to take a better view of him, and Antonia followed her example.

    He was a man of noble port and commanding presence. His stature was lofty, and his features uncommonly handsome. His nose was aquiline, his eyes large, black and sparkling, and his dark brows almost joined together. His complexion was of a deep but clear brown; study and watching had entirely deprived his cheek of colour. Tranquillity reigned upon his smooth unwrinkled forehead; and content, expressed upon every feature, seemed to announce the man equally unacquainted with cares and crimes. He bowed himself with humility to the audience. Still there was a certain severity in his look and manner that inspired universal awe, and few could sustain the glance of his eye, at once fiery and penetrating. Such was Ambrosio, abbot of the Capuchins, and surnamed The man of holiness.

    Antonia, while she gazed upon him eagerly, felt a pleasure fluttering in her bosom which till then had been unknown to her, and for which she in vain endeavoured to account. She waited with impatience till the sermon should begin: and when at length the friar spoke, the sound of his voice seemed to penetrate into her very soul. Though no other of the spectators felt such violent sensations as did the young Antonia, yet every one listened with interest and emotion. They who were insensible to religion’s merits were still enchanted with Ambrosio’s oratory. All found their attention irresistibly attracted while he spoke, and the most profound silence reigned through the crowded aisles. Even Lorenzo could not resist the charm; he forgot that Antonia was seated near him, and listened to the preacher with undivided attention.

    In language nervous, clear, and simple, the monk expatiated on the beauties of religion. He explained some abstruse parts of the sacred writings in a style that carried with it universal conviction. His voice, at once distinct and deep, was fraught with all the terrors of the tempest, while he inveighed against the vices of humanity, and described the punishments reserved for them in a future state. Every hearer looked back upon his past offences, and trembled: the thunder seemed to roll whose bolt was destined to crush him, and the abyss of eternal destruction to open before his feet! But when Ambrosio, changing his theme, spoke of the excellence of an unsullied conscience, of the glorious prospect which eternity presented to the soul untainted with reproach, and of the recompense which awaited it in the regions of everlasting glory, his auditors felt their scattered spirits insensibly return: they threw themselves with confidence upon the mercy of their judge; they hung with delight upon the consoling words of the preacher; and, while his full voice swelled into melody, they were transported to those happy regions which he painted to their imaginations in colours so brilliant and glowing.

    The discourse was of considerable length; yet, when it concluded, the audience grieved that it had not lasted longer. Though the monk had ceased to speak, enthusiastic silence still prevailed through the church. At length, the charm gradually dissolving, the general admiration was expressed in audible terms. As Ambrosio descended from the pulpit, his auditors crowded round him, loaded him with blessings, threw themselves at his feet, and kissed the hem of his garment. He passed on slowly, with his hands crossed devoutly upon his bosom, to the door opening into the abbey-chapel, at which his monks waited to receive him. He ascended the steps, and then, turning towards his followers, addressed to them a few words of gratitude and exhortation. While he spoke, his rosary, composed of large grains of amber, fell from his hand, and dropped among the surrounding multitude. It was seized eagerly, and immediately divided amidst the spectators. Whoever became possessor of a bead preserved it as a sacred relique; and, had it been the chaplet of thrice-blessed St. Francis himself, it could not have been disputed with greater vivacity. The abbot, smiling at their eagerness, pronounced his benediction and quitted the church, while humility dwelt upon every feature. Dwelt she, also, in his heart?

    Antonia’s eyes followed him with anxiety: as the door closed after him, it seemed to her as if she had lost some one essential to her happiness; a tear stole in silence down her cheek.

    ‘He is separated from the world!’ said she to herself; ‘perhaps, I shall never see him more!’

    As she wiped away the tear, Lorenzo observed her action.

    ‘Are you satisfied with our orator?’ said he; ‘or do you think that Madrid over-rates his talents?’

    Antonia’s heart was so filled with admiration for the monk that she eagerly seized the opportunity of speaking of him; besides, as she now no longer considered Lorenzo as an absolute stranger, she was less embarrassed by her excessive timidity.

    ‘Oh! he far exceeds all my expectations’ answered she; ‘till this moment I had no idea of the powers of eloquence. But, when he spoke, his voice inspired me with such interest, such esteem, I might almost say such affection for him, that I am myself astonished at the acuteness of my feelings.’

    Lorenzo smiled at the strength of her expressions.

    ‘You are young, and just entering into life’ said he; ‘your heart, new to the world and full of warmth and sensibility, receives its first impressions with eagerness. Artless yourself, you suspect not others of deceit; and, viewing the world through the medium of your own truth and innocence, you fancy all who surround you to deserve your confidence and esteem. What pity that these gay visions must soon be dissipated! What pity that you must soon discover the baseness of mankind, and guard against your fellow-creatures as against your foes!’

    ‘Alas! Segnor,’ replied Antonia, ‘the misfortunes of my parents have already placed before me but too many sad examples of the perfidy of the world! Yet surely in the present instance the warmth of sympathy cannot have deceived me.’

    ‘In the present instance I allow that it has not. Ambrosio’s character is perfectly without reproach; and a man who has passed the whole of his life within the walls of a convent cannot have found the opportunity to be guilty, even were he possessed of the inclination. But now, when obliged by the duties of his situation he must enter occasionally into the world and be thrown into the way of temptation, it is now that it behoves him to show the brilliance of his virtue. The trial is dangerous; he is just at that period of life when the passions are most vigorous, unbridled, and despotic; his established reputation will mark him out to seduction as an illustrious victim; novelty will give additional charms to the allurements of pleasure; and even the talents with which nature has endowed him will contribute to his ruin by facilitating the means of obtaining his object. Very few would return victorious from a contest so severe.’

    ‘Ah! surely Ambrosio will be one of those few.’

    ‘Of that I have myself no doubt: by all accounts he is an exception to mankind in general, and envy would seek in vain for a blot upon his character.’

    ‘Segnor, you delight me by this assurance! It encourages me to indulge my prepossession in his favour; and you know not with what pain I should have repressed the sentiment! Ah! dearest aunt, entreat my mother to choose him for our confessor.’

    ‘I entreat her?’ replied Leonella. ‘I promise you that I shall do no such thing. I do not like this same Ambrosio in the least; he has a look of severity about him that made me tremble from head to foot. Were he my confessor, I should never have the courage to avow one half of my peccadilloes; and then I should be in a rare condition? I never saw such a stern-looking mortal, and hope that I never shall see such another. His description of the devil, God bless us, almost terrified me out of my wits; and, when he spoke about sinners, he seemed as if he was ready to eat them.’

    ‘You are right, Segnora,’ answered Don Christoval. ‘Too great severity is said to be Ambrosio’s only fault. Exempted himself from human feelings, he is not sufficiently indulgent to those of others; and, though strictly just and disinterested in his decisions, his government of the monks has already shown some proofs of his inflexibility. But the crowd is nearly dissipated: will you permit us to attend you home?’

    ‘O Christ, Segnor,’ exclaimed Leonella, affecting to blush; ‘I would not suffer such a thing for the universe! If I came home attended by so gallant a cavalier, my sister is so scrupulous that she would read me an hour’s lecture, and I should never hear the last of it. Besides, I rather wish you not to make your proposals just at present.’

    ‘My proposals? I assure you, Segnora—’

    "Oh, Segnor, I believe that your assurances of impatience are all very true; but really I must desire a little respite. It would not be quite so delicate in me to accept your hand at first sight.’

    ‘Accept my hand! As I hope to live and breathe—’

    ‘Oh! dear Segnor, press me no further: if you love me, I shall consider your obedience as a proof of your affection; you shall hear from me to-morrow, and so farewell. But pray, cavaliers, may I not inquire your names?’

    ‘My friend’s,’ replied Lorenzo, ‘is the Condé d’Ossorio; and mine, Lorenzo de Medina.’

    ‘Tis sufficient! Well, Don Lorenzo, I shall acquaint my sister with your obliging offer, and let you know the result with all expedition. Where may I send to you?’

    ‘I am always to be found at the Medina palace.

    ‘You may depend upon hearing from me. Farewell, cavaliers. Segnor Condé, let me entreat you to moderate the excessive ardour of your passion. However, to prove that I am not displeased with you, and prevent your abandoning yourself to despair, receive this mark of my affection, and sometimes bestow a thought upon the absent Leonella.’

    As she said this, she extended a lean and wrinkled hand; which her supposed admirer kissed with such sorry grace and constraint to evident that Lorenzo with difficulty repressed his inclination to laugh. Leonella then hastened to quit the church: the lovely Antonia followed her in silence; but, when she reached the porch, she turned involuntarily and cast back her eyes towards Lorenzo. He bowed to her, as bidding her farewell; she returned the compliment, and hastily withdrew.

    ‘So, Lorenzo!’, said Don Christoval, as soon as they were alone, ‘you have procured me an agreeable intrigue! To favour your designs upon Antonia, I obligingly make a few civil speeches which mean nothing to the aunt, and at the end of an hour I find myself upon the brink of matrimony! How will you reward me, for having suffered so grievously for your sake? What can repay me for having kissed the leathern paw of that confounded old witch? Diavolo! She has left such a scent upon my lips that I shall smell of garlic for this month to come! As I pass along the Prado, I shall be taken for a walking omelet, or some large onion running to seed!’

    ‘I confess, my poor Count,’ replied Lorenzo, ‘that your service has been attended with danger; yet am I so far from supposing it to be past all endurance that I shall probably solicit you to carry on your amour still further.’

    ‘From that petition I conclude that the little Antonia has made some impression upon you?’

    ‘I cannot express to you how much I am charmed with her. Since my father’s death my uncle, the duke de Medina, has signified to me his wishes to see me married; I have till now eluded his hints, and refused to understand them; but what I have seen this evening—’

    ‘Well, what have you seen this evening? Why surely, Don Lorenzo, you cannot be mad enough to think of making a wife out of this granddaughter of as honest a painstaking shoemaker as any in Cordova? ’

    ‘You forget that she is also the granddaughter of the late Marquis de las Cisternas. But, without disputing about birth and titles, I must assure you that I never beheld a woman so interesting as Antonia.’

    ‘Very possibly; but you cannot mean to marry her?’

    ‘Why not, my dear Condé? I shall have wealth enough for both of us; and you know that my uncle thinks liberally upon the subject. From what I have seen of Raymond de las Cisternas, I am certain that he will readily acknowledge Antonia for his niece. Her birth, therefore, will be no objection to my offering her my hand. I should be a villain could I think of her on any other terms than marriage; and in truth she seems possessed of every quality requisite to make me happy in a wife—young, lovely, gentle, sensible—’

    ‘Sensible?—Why, she said nothing but Yes and No.’

    ‘She did not say much more, I must confess—but then she always said Yes or No in the right place.’

    ‘Did she so? Oh, your most obedient, that is using a right love’s argument; and I dare dispute no longer with so profound a casuist. Suppose we adjourn to the comedy?’

    ‘It is out of my power. I only arrived last night at Madrid, and have not yet had an opportunity of seeing my sister. You know that her convent is in this street, and I was going thither when the crowd which I saw thronging into this church excited my curiosity to know what was the matter. I shall now pursue my first intention, and probably pass the evening with my sister at the parlour-gate.’

    ‘Your sister in a convent, say you? Oh, very true: I had forgotten! And how does Donna Agnes? I am amazed, Don Lorenzo, how you could possibly think of immuring so charming a girl within the walls of a cloister!"

    ‘I think of it, Don Christoval? How can you suspect me of such barbarity? You are conscious that she took the veil by her own desire, and that particular circumstances made her wish for a seclusion from the world. I used every means in my power to induce her to change her resolution; the endeavour was fruitless, and I lost a sister!’

    ‘The luckier fellow you: I think, Lorenzo, you were a considerable gainer by that loss; if I remember right, Donna Agnes had a portion of ten thousand pistoles, half of which reverted to your Lordship. By St. Jago, I wish that I had fifty sisters in the same predicament! I should consent to losing them every soul without much heart-burning.’

    ‘How, Condé?’ said Lorenzo in an angry voice; ‘Do you suppose me base enough to have influenced my sister’s retirement? Do you suppose that the despicable wish to make myself master of her fortune could—’

    ‘Admirable! Courage, Don Lorenzo! Now the man is all in ablaze. God grant that Antonia may soften that fiery temper, or we shall certainly cut each other’s throat before the month is over! However, to prevent such a tragical catastrophe for the present, I shall make a retreat and leave you master of the field. Farewell, my knight of Mount Ætna! Moderate that inflammable disposition, and remember that, whenever it is necessary to make love to yonder harridan, you may reckon upon my services.’

    He said, and darted out of the cathedral.

    ‘How wild-brained!’ said Lorenzo. ‘With so excellent an heart, what pity that he possesses so little solidity of judgment!’

    The night was now fast advancing. The lamps were not yet lighted. The faint beams of the rising moon scarcely could pierce through the gothic obscurity of the church. Lorenzo found himself unable to quit the spot. The void left in his bosom by Antonia’s absence, and his sister’s sacrifice which Don Christoval had just recalled to his imagination, created that melancholy of mind which accorded but too well with the religious gloom surrounding him. He was still leaning against the seventh column from the pulpit. A soft and cooling air breathed along the solitary aisles; the moon-beams darting into the church through painted windows, tinged the fretted roofs and massy pillars with a thousand various shades of light and colours. Universal silence prevailed around, only interrupted by the occasional closing of doors in the adjoining abbey.

    The calm of the hour and solitude of the place contributed to nourish Lorenzo’s disposition to melancholy. He threw himself upon a seat which stood near him, and abandoned himself to the delusions of his fancy. He thought of his union with Antonia; he thought of the obstacles which might oppose his wishes; and a thousand changing visions floated before his fancy—sad, ’tis true, but not unpleasing. Sleep insensibly stole over him; and the tranquil solemnity of his mind, when awake, for a while continued to influence his slumbers.

    He still fancied himself to be in the church of the Capuchins; but it was no longer dark and solitary. Multitudes of silver lamps shed splendour from the vaulted roofs; accompanied by the captivating chant of distant choristers, the organ’s melody swelled through the church; the altar seemed decorated as for some distinguished feast; it was surrounded by a brilliant company; and near it stood Antonia arrayed in bridal white, and blushing with all the charms of virgin modesty.

    Half hoping, half fearing, Lorenzo gazed upon the scene before him. Suddenly the door leading to the abbey unclosed; and he saw, attended by a long train of monks, the preacher advance to whom he had just listened with so much admiration. He drew near Antonia.

    ‘And where is the bridegroom?’ said the imaginary friar.

    Antonia seemed to look round the church with anxiety. Involuntarily the youth advanced a few steps from his concealment. She saw him; the blush of pleasure glowed upon her cheek; with a graceful motion of her hand she beckoned to him to advance. He disobeyed not the command; he flew towards her, and threw himself at her feet.

    She retreated for a moment; then gazing upon him with unutterable delight: ‘Yes,’ she exclaimed, ‘my bridegroom! my destined bridegroom! ’

    She said, and hastened to throw herself into his arms; but before he had time to receive her, an unknown rushed between them: his form was gigantic; his complexion was swarthy, his eyes fierce and terrible; his mouth breathed out volumes of fire, and on his forehead was written in legible characters ‘Pride! Lust! Inhumanity!’

    Antonia shrieked. The monster clasped her in his arms, and, springing with her upon the altar, tortured her with his odious caresses.—She endeavoured in vain to escape from his embrace. Lorenzo flew to her succour; but ere he had time to reach her a loud burst of thunder was heard. Instantly the cathedral seemed crumbling into pieces; the monks betook themselves to flight, shrieking fearfully; the lamps were extinguished, the altar sunk down, and in its place appeared an abyss vomiting forth clouds of flame. Uttering a loud and terrible cry, the monster plunged into the gulf, and in his fall attempted to drag Antonia with him. He strove in vain. Animated by supernatural powers she disengaged herself from his embraces; but her white robe was left in his possession. Instantly a wing of brilliant splendour spread itself from either of Antonia’s arms. She darted upwards, and, while ascending, cried to Lorenzo: ‘Friend! we shall meet above!’

    At the same moment, the roof of the cathedral opened; harmonious voices pealed along the vaults; and the glory into which Antonia was received was composed of rays of such dazzling brightness that Lorenzo was unable to sustain the gaze. His sight failed, and he sank upon the ground.

    When he awoke, he found himself extended upon the pavement of the church: it was illuminated, and the chant of hymns sounded from a distance. For a while Lorenzo could not persuade himself that what he had just witnessed had been a dream, so strong an impression had it made upon his fancy. A little recollection convinced him of its fallacy: the lamps had been lighted during his sleep; and the music which he heard was occasioned by the monks, who were celebrating their vespers in the abbey-chapel.

    Lorenzo rose, and prepared to bend his steps towards his sister’s convent, his mind fully occupied by the singularity of his dream. He already drew near the porch when his attention was attracted by perceiving a shadow moving upon the opposite wall. He looked curiously round, and soon descried a man wrapped up in his cloak who seemed carefully examining whether his actions were observed. Very few people are exempt from the influence of curiosity. The unknown seemed anxious to conceal his business in the cathedral; and it was this very circumstance which made Lorenzo wish to discover what he was about.

    Our hero was conscious that he had no right to pry into the secrets of this unknown cavalier.

    ‘I will go,’ said Lorenzo. And Lorenzo stayed where he was.

    The shadow thrown by the column effectually concealed him from the stranger, who continued to advance with caution. At length he drew a letter from beneath his cloak, and hastily placed it beneath a colossal statue of St. Francis. Then, retiring with precipitation, he concealed himself in a part of the church at a considerable distance from that in which the image stood.

    ‘So!’ said Lorenzo to himself; ‘this is only some foolish love affair. I believe, I may as well be gone, for I can do no good in it.’

    In truth, till that moment it never came into his head that

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