Ann Radcliffe & Lewis' The Monk

Gothic 'Terror' - Ann Radcliffe

Instilling fear in the reader an essential part of Gothic literature, building on the Sublime (awe-inspiring) power of nature, as depicted in the Romantic movement.

Ann Radcliffe

Ann Radcliffe was a successful 18th-century Gothic writer whose narratives relied on the successful evocation of terror amongst her readers.
Radcliffe never explicitly describes dreadful objects; she evokes the supernatural indirectly only to explain it away at the narrative’s resolution.

The Mysteries of Udolpho

One famous example occurs at the end of The Mysteries of Udolpho in which a mysterious black veil appears to hide some gruesome, dark secret.
Typically terrified, the female protagonist approaches, draws back the veil and collapses in fright.
It is then revealed that this object of terror is only a wax mannequin.

Critical analysis of Radcliffe

Gothic literature expert Sue Chaplin notes how many of Radcliffe's readers grew frustrated at Radcliffean ‘terror' and hoped for something truly supernatural.
Scottish novelist Walter Scott, who was a real admirer of her writing, confessed that the "reader feels tricked" by Radcliffe’s insistence of always having a rational explanation for the seemingly supernatural events.

Gothic 'Horror' - The Monk

No-one was more frustrated by Radcliffean terror than Matthew Lewis who wrote the infamous Gothic novel The Monk in response to Ann Radcliffe’s reluctance to depict anything truly shocking.

Influence on genre

The Monk gave rise to the sub-genre, now synonymous with the Gothic, of ‘horror’.

The Monk plot (part 1)

Ambrosio, a monk of a monastery in Madrid, is seduced by Matilda, a diabolical woman who has entered the monastery.
Ambrosio then plots the rape of one of his charges, Antonia. His first attempt is foiled at the last minute by Antonia's mother, Elvira, whom Ambrosio strangles.
His second attempt, in which he is successful, ends with the fatal stabbing of Antonia.

The Monk plot (part 2)

Both Ambrosio and Matilda are brought before the Inquisition. Matilda confesses her guilt and is condemned to be burned to death. Ambrosio insists on his innocence and is tortured.
In his cell, he is visited by a vision of Matilda, who tries to convince him to completely yield his soul to Lucifer as she has. Ambrosio eventually agrees and requests that Lucifer saves his life. Lucifer tells him it will be at the cost of his soul.

The Monk plot (part 3)

Lucifer informs him that Elvira was his mother, making Antonia his sister, adding to his crimes the sin of incest.
Lucifer reveals that it has long been his plan to gain Ambrosio's soul, and Matilda was his servant in the process.
Lucifer then carries Ambrosio up and drops him on the rocks below.
Ambrosio suffers for six days, dying alone and damned for eternity.

1Context - Gothic Literature

1.1Origins & Conventions of Gothic Literature

1.1.1Origins of Gothic Literature

1.1.2Key Ideas in Gothic Literature

1.1.3Gothic Genre Conventions in Dracula

1.2Vampires in Gothic Literature

1.2.1Vampires

1.3'Terror' & 'Horror'

1.3.1Ann Radcliffe & Lewis' The Monk

1.3.2'Terror' & 'Horror' in Dracula

1.4Narrative Features

1.4.1First-Person Narration & Epistolary Format

2Context - The Victorian Era

2.1The Victorian Era

2.1.1Fin de Siecle

2.1.2The 'New Woman'

2.1.3The Contagious Diseases Act

3Chapter Summaries & Analyses

3.1Chapter Summaries & Analyses

3.1.1Chapters 1-2

3.1.2Chapters 3-4

3.1.3Chapters 5-7

3.1.4Chapters 8-10

3.1.5Chapters 11-12

3.1.6Chapters 13-14

3.1.7Chapters 15-16

3.1.8Chapters 17-18

3.1.9Chapters 19-20

3.1.10Chapters 21-23

3.1.11Chapters 24-25

3.1.12Chapters 26-27

4Character Profiles

4.1Archetypal Gothic Characters

4.1.1Stock & Proppian Gothic Characters

4.2Count Dracula

4.2.1Count Dracula: Character Profile

4.2.2Count Dracula: Different Literary Perspectives

4.3Other Main Characters

4.3.1Jonathan Harker

4.3.2Dr Abraham Van Helsing

4.3.3Dr Jack Seward

4.3.4Mina Harker

4.3.5Lucy Westenra

4.4Minor Characters

4.4.1Arthur Holmwood & Quincey Morris

4.4.2Renfield

5Key Ideas

5.1Key Ideas

5.1.1Transgression of Boundaries

5.1.2The Supernatural & Un-dead

5.1.3Masculinity & Femininity

5.1.4Science, Modernity & Superstition

5.1.5Madness, Illness & Confinement

6Writing Techniques

6.1Writing Techniques

6.1.1Epistolary Form & Narrative Voice

6.1.2Intertextuality & Cultural References

6.1.3Structure

7Critical Debates & Interpretations

7.1Initial Reception of Dracula

7.1.1Initial Reception of Dracula

7.2Modern Reception of Dracula

7.2.1Modern Reception of Dracula

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