female virtue – Emily in The Mysteries of Udolpho (1794), Ellena in The Italian (1797) – are members of aristocratic families, the values, ideals, and morals they display are clearly those of the rising English middle class. Recurrent themes of transgression and excess, threatened damnation, pursuit, persecution, and tyranny abound.11 E.J. Cleary observes that the overtly didactic program of early Gothic literature is in line with the eighteenth-century pragmatic theory of the novel: Gothic novels aim to scare individuals into moral, virtuous behavior. Matthew Lewis

in Haunted historiographies
Abstract only
At the London Magazine and after

ments and language of rejected contributors’ work, constituting an acted critique of G.R., whose ‘diction’, Hood remarks, ‘would inflate a balloon’ and B., who ‘Has the “Cacoethes Rhymendi,” and loves the luxury of feeling that attends it’.53 Saluting the impossibility of determining ‘authenticity’, ‘Faithless Sally Brown’ also suggests the ambivalence with which Hood occupies the role of literary mourner, for the poem is partly parodic. In Matthew Lewis’s The Monk the doomed heroine, shortly before seeing her mother’s ghost, reads the tragic ballad of ‘Brave Alonzo

in Thomas Hood and nineteenth-century poetry
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Gender in the Gothic
Robert Miles

ideal presence, is implicated as voyeur. The reader is brought into the frame of a problematic discipline. Spenser’s Bower of Bliss (1590), a passage from ‘Summer’ from Thomson’s The Seasons (1727) and the garden scene in Matthew Lewis’s The Monk ( 1796 ) illustrate the changes that take place within a recurring topos. In Spenser’s poem two blushing ‘Damzelles’ bob in a pond, revealing, then hiding

in Gothic writing 1750–1820
Sophia Lee’s The Recess (1783–85), the Gothic and history

of the Catholic faith: ‘Can midnight tapers, suspended black, or waving plumes, relieve those eyes which seek in vain their only object? or gratify a heart writhing under the iron hand of calamity?’ ( R 128). It is these macabre and chilling ceremonial aspects of the Catholic faith that would prove to be a source of fascination for future Gothic writers, such as Matthew Lewis

in Sinister histories
Journalism, Gothic London and the medical gaze

a political vision relating to race, sex, and class, became expressed. However, it is also relevant for the purpose of this inquiry to break down the Gothic into two distinct modes which highlight the role that gender plays in Gothic formations: the Male Gothic and the Female Gothic. The Male Gothic, with its literary roots in the Gothic of the 1790s, as in Matthew Lewis’s The Monk (1796), was

in Victorian demons
Fathers from American Gothic to Point Pleasant

, with precursors from the apocryphal Lilith forward to Matthew Lewis’s Mathilda and across various forms of gothic and horror including filmic clichés, her “evil” apocalyptic if she cannot properly discipline herself. But the rest of the cast of characters inhabit a more mundane world in which men hurt women in the name of discipline – not merely sexual, but also epistemological. The

in Men with stakes
Open Access (free)
Location the Irish gothic novel

upsets our conceptualisations of ‘the Gothic novel’ in its lack of the medieval, Catholic Continental settings associated with eminent gothicists such as Walpole, Radcliffe, and Matthew Lewis (1775–1818). It more easily falls into the category of ‘Irish Gothic’, appearing to adhere to prevailing, psychoanalytic readings of the form in its use of the 1641 Rebellion as its setting. Griffith's depiction of this period in Irish history gestures towards the important role Protestant historiography of 1641 played in creating what Jarlath Killeen identifies as the quasi

in The gothic novel in Ireland, c. 1760–1829

1890); hunters; American pioneer heroes (Jim Butler and Matthew Lewis); a solitary bare-chested youth reading beneath a tree; two girl scouts, dated 1912, studiously sharing a picnic; Californian Redwoods; and the exposed, tentacular roots of a felled giant sequoia. 6 Rosalind (Jutte Lampe

in As You Like It
Catholicism, gender and race in two novels by Louise Erdrich

in a religious context provided not only titillating shock value but also a “reading” of Catholicism as hypocritical and erotic, something to be unmasked’ (Garber, p. 218). The significance of the religious transvestite figures in Matthew Lewis’s The Monk (1796) and Charlotte Brontë’s Villette (1853), respectively, is, according to Garber, ‘as much England/France and Protestant/Catholic as it is male/female: the phantom appearance of the transvestite, once again, marks a category crisis elsewhere.’ 30 According to the 2001 ARIS

in Passing into the present
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E.J. Clery and Robert Miles

, II.i.179–80. 20 The references are to Matthew Lewis, The Monk (1796); Thomas Moore, ‘The Ring, a Tale’, The Poetical Works of the Late Thomas Little, Esq . (1801); and Fantasmagoria, ou Recuel d’Histoires d’Apparitions de Spectres, Revenans, Fantômes, etc . (1812

in Gothic documents