Matthew Lewis’ novel ‘The Monk’ prevails at the forefront of the gothic movement as it delves into macabre, sexual and violent content that hooks its readers with a morbid fascination. Unlike other literature of this period, (like Ann Radcliffe’s ‘The Mysteries of Udolpho’), Lewis detached his novel from eighteenth century rationalism, to create interactions with the supernatural that defy logic or reason. Through this, Lewis constructs a nonsensical plot that offers no “natural” explanation to his novels happenings to ignite apprehension in gothic readers. Arguably, this sense of unease is mirrored throughout the social context at the time with “the Catholic” consistently resurrecting itself as ‘a dynastic and political threat’. Because of this anti-Catholic sentiments became increasingly popular in the late eighteenth century and led to the infamous Gordon riots and an attempt at invasion from the Spanish in 1779. In literature the British imaginary amplified these anxieties by presenting a genre exhibiting nymphomaniac nuns, shady monks and an overall complete disregard for Christian teachings.                                                                              One critical example of this is the rape of Antonia in which the narrator describes ‘but [Ambrosio] resolved that should she prove obstinate, no consideration whatever should prevent him from enjoying her’. ¹ In this quote, it becomes evident that Ambrosio has lost his morality, with his desire for Antonia overruling his sense of humanity and righteousness – he loses the faith bestowed on him as a “holy figure”. Furthermore, this highlights the juxtaposition between Ambrosio’s powerful position as ‘The Monk’ with the young and innocent disposition of Antonia. This example can be linked to the real life case of Marie-Catherine Cadière and the sexual abuse she suffered by the hands of Jesuit Jean-Baptiste Girard. Like Ambrosio, Girard used his trusted position in the church to coerce Cadière into believing that she was suffering from ‘holy convulsions and saintly stigmata and spiritual visions’, in order to visit and abuse her several times. ² During the early eighteenth century, Cadière’s case became notorious across Paris and England causing society to distrust the clergy and spread anti-Catholic convictions, which, ‘with corrections, went through at least eleven editions, and inspired other pieces of the same type, extensive newspaper reports, broadsheets, prints, and a set of rhymes’. ³ After facing trial, Cadière was sentenced to death and later was announced as innocent, ‘her acquittal and release was greeted with rejoicing from the public’. ⁴

On top of this, Lewis’ skilful use of gendered language is integral to the theme of anti-Catholicism as it mirrors Ambrosio’s “fall from grace”. Initially, when Ambrosio starts to become deluded by Matilda (The Devil’s servant) whos ‘gaze penetrated him’, Lewis’ depictions of him gradually become more phallic and “feminine”, ‘he remembered Matilda’s menaces if he infringed her orders, and his bosom was filled with a secret unaccountable awe’. ⁵ Through the feminization of Ambrosio, Lewis links connotations of submission, weakness and frailty to him, hinting to readers how he is now becoming a mere instrument in the Devils affair. Critic Steven Blackmore clarifies this, suggesting ‘Lewis’s point is that Catholic vows of chastity feminize monks whose sexual ignorance makes them vulnerable to temptation and hypocrisy’. ⁶ Evidently, this phallic imagery is only finished upon Ambrosio’s death when Satan, taking the form of a collosal bird launches him from a great height until ‘the sharp point of a rock recieved him’. ⁷ This phallic allusion relates Ambrosio’s downfall to Greek mythology and the rape of Ganymede, a naive adolescent who was abducted by Zeus in order to become his “cup-bearer”. Within this dramatic ending Lewis ties parallels between both characters as they are coerced into abandoning their morals and causing their own “fall from grace”. Moreover, throughout history Ganymede has been used as an artistic expression for homosexuality, it is this homoerotic desire that the Catholic church shunned and clearly classified as a major sin at the time.

In conclusion, the theme of anti-Catholicism undeniably permeates itself throughout Lewis’ novel, with many political, cultural and religious implications prevelant to the creation and reasoning behind ‘The Monk’, it becomes clear how protestant reformation increasingly grew as the superior ideal. Even in the late eighteenth century plenty of adaptations were made from Lewis’ novel, like the stage play ‘Aurelio and Miranda’, all revealing the surge in anti-Catholic views upheld by British society.

 

(Word Count: 715).

Bibliography:

Anon, ‘Catherine Cadière’, Wikipedia, 17th July 2023, https://en.wikipedia.org/wiki/Catherine_Cadi%C3%A8re (Accessed 15th November 2023).

David Salter, Shakespeare, The Gothic and the Discourse of Anti-Catholicism, https://doi-org.ezproxy.brighton.ac.uk/10.1080/17450910902764298 (Accessed 18th November 2023).

James Boaden, Aurelio and Miranda: A Drama in Five Acts, (1798).

Matthew Gregory Lewis, The Monk, (Wordsworth Editions Ltd).