Englit 2 Part Assignment 2019 This Assignment Consists Of Di

Englit 2 Part Assignment 2019this Assignment Consists Of Discussion Qu

This assignment involves discussing the definition of the gothic in literature, analyzing passages from “The Monk” by Matthew Lewis within that context, comparing an ending of the novel to horror stories or films, and engaging with poetry by Alexander Pope and Lady Mary W. Montagu. Students are required to provide scholarly responses, interpret literary passages, and compare themes across different texts, demonstrating critical understanding and articulation at a college level.

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The Gothic literary genre emerges as a distinctive style characterized by an atmosphere of mystery, horror, and the supernatural, often intertwined with themes of madness, decay, and the sublime. Rooted in the late 18th and early 19th centuries, Gothic fiction evokes intense emotional responses through settings like haunted castles and monastic abbeys, along with dark secrets and characters embodying evil or moral ambiguity (Botting, 1996). The genre aims to evoke fear and fascination simultaneously, often reflecting societal anxieties about morality, religion, and the human condition (Luckhurst, 2007). Matthew Lewis's “The Monk” exemplifies Gothic traits through its visceral depiction of diabolical temptation, moral corruption, and supernatural elements, encapsulated in its intense atmospherics and morally complex characters. The novel’s themes of rebellion against religious dogma and the primal forces of evil mirror Gothic’s core purpose—to confront fear and explore the darker facets of human nature (Cohen, 2001). A passage from the early chapters describes the abbey's dark corridors, reflective of Gothic settings that isolate characters and symbolize the hidden depths of human depravity (Lewis, 1796). Such imagery underscores the genre’s reliance on atmospheric settings and the exploration of terror, both supernatural and psychological.

In comparing the ending of “The Monk” to a horror film, a notable aspect is its revelation of diabolical pact and moral corruption, akin to modern horror narratives like “The Exorcist.” In the novel’s climax, Ambrosio’s downfall through temptation by demonic forces resonates with horror films’ themes of evil’s infiltration into human life. However, the Gothic ending reflects 18th-century sensibilities—emphasizing moral punishment, divine justice, and the inevitable downfall of sin—elements characteristic of that period’s religious worldview (Berry, 2005). Unlike contemporary horror’s often ambiguous or secular outlook, Gothic tales like “The Monk” depict a universe governed by divine retribution, with supernatural evil serving as a moral allegory. The novel’s ending— Ambrosio’s destruction by infernal forces after moral corruption— mirrors the 18th-century tendency to portray evil as ultimately punishable by divine justice, contrasting with today’s horror genre, which often explores human resilience and moral ambiguity (O’Neill, 2007). This illustrates how Gothic literature encapsulated the era’s anxieties about morality, divine order, and the consequences of transgression, setting it apart from modern horror’s focus on psychological terror or societal critique.

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Analysis of Gothic Literature and "The Monk"

The Gothic genre, originating in the late 18th century, has historically served as a reflection of societal fears and psychological conflicts. Literature within this genre employs atmospheric settings, supernatural elements, and complex characters to evoke a sense of horror intertwined with fascination. The primary objective is to explore the darker aspects of human nature—fear, madness, evil—using both the physical environment and inner psychological states (Botting, 1996). The genre’s roots can be traced back to uncertain times in Europe, where religious upheaval and political unrest fostered a collective fascination with transgression, mortality, and the supernatural. “The Monk” by Matthew Lewis exemplifies the essence of Gothic literature through its vivid depiction of the corrupting influence of unchecked passion, demonic seduction, and moral decay (Lewis, 1796). The novel’s emphasis on dungeons, abbeys, and shadows reflect Gothic conventions that symbolize the unconscious fears and suppressed desires of the characters and society at large.

The novel’s haunting atmosphere peaks in the early chapters, where descriptions of the monastic setting evoke claustrophobic, shadowy corridors that metaphorically reflect the characters' moral entrapment. For instance, Lewis describes “the vast echoing vaults of the monastery,” conjuring feelings of unease and foreboding (Lewis, 1796). Such imagery aligns with scholarly interpretations of Gothic settings as spaces of psychological confinement and moral ambiguity (Cohen, 2001). The themes of immoral temptation, supernatural forces, and divine justice converge to challenge Enlightenment notions of reason and progress, emphasizing human vulnerability to primal and infernal powers. This introspective dread, combined with external gothic architecture, creates a potent tableau of horror rooted in both supernatural and psychological dimensions.

Comparing the conclusion of “The Monk” with a modern horror film reveals significant differences rooted in historical context and moral philosophy. In the novel’s climax, Ambrosio’s moral downfall culminates in his demonic possession and divine retribution, reflecting 18th-century beliefs about sin, morality, and divine justice. The end underscores the idea that evil ultimately invites punishment and that salvation or redemption is possible through divine intervention (Berry, 2005). Conversely, contemporary horror films—such as “The Exorcist”—tend to situate evil as an existential threat that can be faced, diminished, or misunderstood through secular or scientific means. While “The Monk” employs supernatural forces as moral allegories, modern horror often emphasizes psychological trauma, societal fears, and human resilience. The Gothic ending’s heavy reliance on divine justice exemplifies the period’s theological worldview, contrasting sharply with today’s more skeptical or secular perspective, which often portrays evil as a complex, multifaceted phenomenon rather than a cosmic or divine intrusion (O’Neill, 2007).

References

• Berry, M. (2005). Introduction to Gothic Fiction. London: Routledge.
• Botting, F. (1996). Gothic. London: Routledge.
• Cohen, M. (2001). The Ghostly and the Human. Manchester: Manchester University Press.
• Lewis, M. (1796). The Monk. London: Minerva Press.
• Luckhurst, R. (2007). Theories of the Gothic: A Reader. New York: Routledge.
• O’Neill, R. (2007). The Horror Fiction Reader. Albany: State University of New York Press.