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, this as defining the spatial difference in colonial life (Harkin, 2002). For example, Matthew Lewis, a plantation owner in Jamaica in 1816 complained of the being obliged to live perpetually in public. Certainly if a man was desirous of leading a life of vice here , he must have set himself totally above shame, for he may depend upon everything done by him being seen and known. The houses are absolutely transparent, the walls are nothing but windows – and all doors stand wide open. No servants are in waiting to announce arrivals: visitors

in Gender and colonial space
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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

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
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Duelling confession within the novel

noticing Matthew Lewis’s The Monk (1796). In this novel, which gave the sobriquet ‘Monk’ to its author, we encounter a nefarious accumulation of monastic denizens of both sexes. These can include individuals merely alluded to, such as ‘a robber, who had once been a monk’ who ‘performed over us a burlesque rather than a religious [marriage] ceremony’ (Lewis, 1959, 138), or alleged, such as a spectral bleeding nun. The young novitiate Rosario is revealed to be a woman – indeed the temptress and sorceress Matilda. Ambrosio, the supposedly saintly and immaculate ‘friar

in Odoevsky’s four pathways into modern fiction

, deeds reciting Sad to hear and sad to tell How, at Roncesvalles fighting, Charles choicest warriors fell60 Matthew Lewis is best known for his Gothic novel, The Monk, which was first published to great success in 1796. MORGAN 9781784993122 PRINT.indd 52 23/04/2018 15:53 ‘Rise Britons, rise now from your slumber’ 53 The combination of rhetorical question and imperative renders this a forceful and passionate poem intent on rousing the people to fight for freedom rather than a ‘glorious doom’. BRITONS, from this fatal slumber, Rouse, your country succour craves

in Ballads and songs of Peterloo

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
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