StoryreaderThe Monk
December 10th 2006 23:12
On the one hand it is possible to read The Monk as adhering to a Christian moral framework in that ‘goodness’ is rewarded and evil is punished severely (by ultimate damnation no less). But at the same time the narrative is underlaid with a strong critique of Catholicism where Christian virtue becomes merely a facade for vice and transgression.
The innocent or good characters either go to heaven - Elvira and Antonia who ‘sparkled with celestial brightness’ (Lewis 1952: 376) at her death - or like Agnes, Raymond and Lorenzo overcome their tribulation and live happily ever after or as ‘happy as can be those allotted to mortals, born to the prey of grief, and sport of Disappointment.’ (Lewis 1952: 400)
On the other side of the scale evil is punished by particularly harsh retribution. The vindictive prioress is torn to pieces by an angry mob while Ambrosio is tortured and condemned by both the Inquisition and the devil.
While there is a distinct pattern of vice and punishment, virtue and reward it has to be noted that vice and transgression are the central elements of the narrative.
‘Indeed the over exaggerated style of the punishment
works against its supposed avowal of morality and
suggests that the cautionary note is merely a weak,
even satirical, get-out clause for a novel, over-indulged
in immorality and excess.’ (Botting 1996: 77)
Far from being just ‘an uneasy and eerie dialectic between anxiety and desire’ (Mulvey-Roberts 1998: 16), The Monk, focusing as it does on Ambrosio’s transgressions, is more of an embracement of both. Although desire/transgression does manage to out balance the anxiety.
Embedded within the narrative is a critique of Catholicism. The church is shown to foster superstition, and far from being righteous it is shown as being hypocritical, its authority figures are corrupted. Ambrosio’s transgressions are blamed on his repressive upbringing by monks who ‘…busy rooting out his virtues and narrowing his sentiments, they allowed every vice that was his share to arrive at full perfection.’ (Lewis 1952: 238)
It is worth noting that the most transgressive characters (Ambrosio and the prioress) hold positions that imply integrity and morality, but the nature of religion is shown to subvert these ideals.
The hypocrisy of Ambrosio and the prioress is underlined as their supposed virtue is revealed as merely a shallow facade for their own self-interest and desires. They punish vice in others but are themselves corrupted.
The religious critique ‘uses conventional anti-Catholicism of Gothic fiction…but it is the tyrannical nature of, and barbaric superstitions inculcated by, all institutions, including aristocracy, Church and family, that forms the general object of criticism.’ (Botting 1996: 78)
Through the exploration of transgression it is possible to read The Monk as having a subversive adherence to a Christian moral framework, despite the ambiguous nature of the ending where the devil gains possession of Ambrosio. The Christian moral framework is in principle adhered to, but in the course of the narrative it has become severely undermined.
Bibliography:
Botting, F. (1996) Gothic Routledge: London
Lewis, M. (1952) The Monk Grove Press: USA
Mulvey-Roberts, M. (ed) (1998) The Handbook To Gothic Literature Macmillan Press Ltd
The innocent or good characters either go to heaven - Elvira and Antonia who ‘sparkled with celestial brightness’ (Lewis 1952: 376) at her death - or like Agnes, Raymond and Lorenzo overcome their tribulation and live happily ever after or as ‘happy as can be those allotted to mortals, born to the prey of grief, and sport of Disappointment.’ (Lewis 1952: 400)
While there is a distinct pattern of vice and punishment, virtue and reward it has to be noted that vice and transgression are the central elements of the narrative.
‘Indeed the over exaggerated style of the punishment
works against its supposed avowal of morality and
suggests that the cautionary note is merely a weak,
even satirical, get-out clause for a novel, over-indulged
in immorality and excess.’ (Botting 1996: 77)
Far from being just ‘an uneasy and eerie dialectic between anxiety and desire’ (Mulvey-Roberts 1998: 16), The Monk, focusing as it does on Ambrosio’s transgressions, is more of an embracement of both. Although desire/transgression does manage to out balance the anxiety.
It is worth noting that the most transgressive characters (Ambrosio and the prioress) hold positions that imply integrity and morality, but the nature of religion is shown to subvert these ideals.
The hypocrisy of Ambrosio and the prioress is underlined as their supposed virtue is revealed as merely a shallow facade for their own self-interest and desires. They punish vice in others but are themselves corrupted.
The religious critique ‘uses conventional anti-Catholicism of Gothic fiction…but it is the tyrannical nature of, and barbaric superstitions inculcated by, all institutions, including aristocracy, Church and family, that forms the general object of criticism.’ (Botting 1996: 78)
Through the exploration of transgression it is possible to read The Monk as having a subversive adherence to a Christian moral framework, despite the ambiguous nature of the ending where the devil gains possession of Ambrosio. The Christian moral framework is in principle adhered to, but in the course of the narrative it has become severely undermined.
Bibliography:
Botting, F. (1996) Gothic Routledge: London
Lewis, M. (1952) The Monk Grove Press: USA
Mulvey-Roberts, M. (ed) (1998) The Handbook To Gothic Literature Macmillan Press Ltd
| 121 |
| Vote |
Subscribe to this blog
