some writers and poets. 12 The Wandering Jew enters Gothic fiction by way of Matthew Lewis’ The Monk and reappears in different guises in Godwin’s St Leon , Maturin’s Melmoth the Wanderer and Stoker’s Dracula . 13 In The Monk , a burning cross on his forehead is concealed by a black velvet band. He is looked upon with ‘terror and detestation’ and his eyes

in Dangerous bodies
William Godwin, Mary Wollstonecraft and the perils of the present

of Udolpho triggered a wave of imitations. The literary marketplace became flooded with Gothic tales and stories. 1 Furthermore, Radcliffe’s novel gave rise to one of the most notorious works of Gothic fiction: Matthew Lewis’s The Monk (1796). 2 As the French Revolution became increasingly gruesome, there was a notion during the 1790s that Gothic writers tried to compete with the horror conjured

in Sinister histories
Open Access (free)
Romances, novels, and the classifications of Irish Romantic fiction

M. Fitzer names the works referenced here as Gottfried August Bürger's ‘Leonora’ (1774), Robert Southey's ‘Donica’ (1797), Matthew Lewis's ‘The grim white woman’ (1800), Walter Scott's ‘The eve of St John’ (1800) and ‘The lay of the last minstrel’ (1805), Mary Robinson's ‘The haunted beach’ (1806), Walpole's The castle of Otranto , Radcliffe's The mysteries of Udolpho , and Charles Robert Maturin's The fatal revenge; or, the family of Montorio (1807) ( Strathallan , p. 498, n. 61

in The gothic novel in Ireland, c. 1760–1829
Fashioning the self in Victorian Gothic

merchandising industry producing themed bonnets, cloaks, perfume and dances. 8 While this was not in itself a new practice – Matthew Lewis’s poem ‘Crazy Jane’ had started a fashion for a themed hat earlier in the century 9 – the difference was in scale, and in the reflection of this new interest in commodities in the fiction itself. Victorian Gothic fiction traces the complex paths between madness, self

in Fashioning Gothic bodies
Dandies, cross-dressers and freaks in late-Victorian Gothic

if not necessarily of dandyism proper. The association is also partly due to the genre’s perennial fascination with the Byronic hero. Both Byron and Matthew Lewis belonged to the ton Regency set, and Byron in particular, while more than simply a Clothes-Wearing Man in the manner of Brummell, was regarded by successors to be ‘on certain days’ a template for blasé dandiacal style. 26 While early

in Fashioning Gothic bodies

Virgin Mary in Phantasmagoria ( 2006 : 50). 10 In Matthew Lewis’s The Monk ( 1796 ), for example, Ambrosio, assisted by Matilda’s supernaturally imbued silver myrtle, enters Antonia’s chamber in order to drug and rape her. Here he plays the role of the intrepid prince as he penetrates door by door the

in Decadent Daughters and Monstrous Mothers

it blows … the BOWLINES, those which spread out the sails and make them swell. Out on deck Isabella and I surveyed the dingy sky. It promised rough sea, sudden squalls and a stormy passage. ( C , 8–9) In this extract, part of the disjunction arises from Phillips’s juxtaposition of different sources; the first part would seem to draw on a passage from Janet Schaw’s Journal of a Lady of Quality , while the sea terms are taken from Matthew Lewis’s Journal of a West India Proprietor

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
Mary Hays and the struggle for self-representation

identification between heroines and impressionable (female) readers. Moreover, fiction was common fare amongst radical writers like Godwin, Wollstonecraft, Thomas Holcroft and Matthew Lewis but not among Dissenters (especially not Dissenting women).37 Although Emma Courtney shared many of the moral and political concerns of Hays’s earlier writing, her foray into fiction set her apart from other Dissenting women writers, and her transgressive heroine scandalised readers across the political spectrum. Many readers assumed that the story had its basis in the author’s life and

in Romantic women’s life writing
Father– daughter incest and the economics of exchange

. 63 This trope recurs in novels such as Smith’s Emmeline , Radcliffe’s The Romance of the Forest (1791) and The Italian , Parsons’s Wolfenbach , Matthew Lewis’s The Monk (1796), Eleanor Sleath’s The Orphan of the Rhine (1798) and Charles Maturin’s Melmoth the Wanderer (1820), among others

in Gothic incest
Open Access (free)
Thefts, violence and sexual threats

casting writers like Radcliffe in the role of the heroine beleaguered by male critic villains. 56 Such criticism is not unjust; much scholarship has been devoted to repositioning Radcliffe in light of Matthew Lewis and her male critics such as Sir Walter Scott, while even more has focused on ownership, inheritance and property in her novels. 57 Fitzgerald ultimately links feminist criticism’s fixation on property to a desire to

in Gothic incest