How to say nothing with a large vocabulary.
Thursday, 31 December 2009
Monday, 28 December 2009
Driving home for non-denominational, politically-correct religiously or secularly themed holiday season.
Wednesday, 23 December 2009
Token.
Sunday, 20 December 2009
Just out of interest...
Let it snow.
Saturday, 19 December 2009
You can't have my eyes! I might need them... sometime.
Friday, 18 December 2009
Safe mode.
Wednesday, 16 December 2009
Dénouement.
Tuesday, 15 December 2009
Sunday, 13 December 2009
Ashfalash.
Friday, 11 December 2009
In other news.
Hoorah!
EXTRACT 2: From Matthew Lewis, The Monk, Vol. III, Chpt. III
Key-concept term: Revolution
This essay is a close text analysis of Matthew Lewis’ The Monk; I will look at language, form, structure, tone, contextualised by the key-term ‘revolution’, but with subsidiary points from religion, enlightenment, convention, the enlightenment, and ‘horror’. These themes address the main points of the gothic genre, especially the gothic of this period.
Demonstrated by the extract is one of the prevailing thoughts of the late 18th Century: fear of mob-rule and mob mentality. We see, from the book’s publication date – the same year as the ‘Fall of the Bastille’ – the fears that Lewis had about revolutionary activity: “This confusion increased with every moment” (Lewis, 2008, p. 355). The use of “every moment” suggests speed, allegorical of the French Revolution, and the way it took hold so rapidly. What Smith and Hughes argue is that this “celebration of the irrational” is a reaction to the revolution and the enlightenment; that the desire of the communal mentality overwhelms rationality, and although revolution in and of itself wasn’t inherently evil; it was poorly executed (Smith, & Hughes, 2003. p. 1). Whilst Lewis does convey this, it is not as a celebration; instead, Lewis takes a more admonitory tone, one of his protagonists Don Ramirez “refused to consent positively” (2008, p. 355). This is expounded upon further through the “multitude of voices”, almost autological of the ever-present confusion born from revolution (Lewis, 2008, p. 355).
Alongside this is that some of the extract seems to speak directly about the nature of the revolution: where the mob “exclaim[ed], that the Prioress [...] be given up to their fury” (Lewis, 2008, p. 355). The loss of individualisation within the group gives way to savagery and barbarity; the mob overpowers the generic figure of the nun and savagely beats her to death: a politicised religious revolution. We thus see that Lewis’ reaction to the revolution was not directly aimed at the forthcoming French revolution, but the institutionalisation of mentality in general: individualisation is paramount to a functioning society in which people are free to believe what they wish.
It is important to note, however, that although Lewis propagated the dangers of revolution, he was not necessarily pro-enlightenment: “In vain did Ramirez attempt to convey his Prisoner out of the Throng [...] oppressed by numbers” (2008, p. 355). Lewis’ libertin thought process “that Locke taught men [...] that toleration is the glory of civilized man” is juxtaposed against the “oppress[ion]” of the crowd, and the futile “attempt to convey” the prioress to safety (Nicolson, 1960, p. XIX) (2008, p. 355). Although Lewis does seem to want to draw elements from both the revolution and the enlightenment, his denouncement of institutionalisation is somewhat haphazardly conveyed. His crowd undergoes “[a] moment of phrenzy”, and the only individuals are oppressed to silence by the anger of the crowd (2008, p. 355).
Through the language and tone I interpreted Lewis’ anti-revolutionary, and anti-religious stance, “oppressed by numbers”, echoes Shelley’s “Ye are many, they are few”; a common theme of communal democracy instead of regimented oppression (Lewis, 2008, p. 355) (Shelley, 2010, p.13). The binary is presented through the fact that “the rioters heeded nothing but the gratification of their barbarous vengeance” (Lewis, 2008, p. 356). Barbarity is a trait not normally associated with humanity: it is an animalised trait. This anthropomorphic imagery is a common trope within the libertin attitude, which was born from the naturalism of the Renaissance (Crocker, 1969, p. 8). Lewis is presenting the romantic gothic view that progress is achieved through naturalism, “determinism”, and “a secular morality”: not pure revolutionary overthrowing of regimented government, nor total individualism (Crocker, 1969, p. 8). He goes on to compound the prioress to death until she is “no more than a mass of flesh, unsightly, shapeless and disgusting”, highlighting the ever-present physicality in the gothic (Lewis, 2008, p. 356).
The most demonstrable moment of the extract comes when “[Lorenzo] threatened the mob with the vengeance of the Inquisition [...] Though regret for his Sister made him look upon the Prioress with abhorrence, Lorenzo could not help pitying a Woman in a situation so terrible” (Lewis, 2008, p. 356). The threat is the idea of determinism, born from enlightenment; the “abhorrence” is the consistent thought of anti-religion, and the “pitying” is the secular morality. (Lewis, 2008, p. 356). Abhorrence indicates a deplorable situation, one which has no morality, no rationalism, and the repetition of vengeance shows how a revolutionary thought necessitates intervention by individual or institutional guidance and ruling. This morality – spread throughout the novel – is perhaps because Lewis left out the last few lines of the book. Originally there was a scene which read “Haughty lady, why shrunk you back when yon poor frail-one drew near”; whereas this “little tag of trite morality” is later omitted and instead the moral turpitude is more subtly interwoven into the main narrative (Summers, 1968, pp. 212-213).
So is Lewis reacting directly to revolutionary thought? Lester G. Crocker argues that instead it is a “combination of critical rationalism and recrudescent naturalism [...] [which] lead to the questioning of traditional beliefs and values” (1969, p. 4). We can see this clearly where “all representations were fruitless: The disturbance grew still more violent, and the Populace more exasperated” (Lewis, 2008, p. 355). Taken as analogous of prevalent thought, the representations become the “traditional beliefs”, the condemning of the exasperation of the populace is the “critical rationalism”, and the more violent disturbance the “recrudescent naturalism”. Lewis argues against revolution, and suggests that hierarchy and order is needed to maintain order within a society; however, the contemporary regimes and corrupt governments are unable to give this. Another way in which Lewis demonstrates these thoughts is through the form of the novel.
In terms of language and tone, the extract follows the Gothic tropes of barbarity, superstition and over-enthusiasm. The mobs, or revolutionary groups, are the barbarian force which become enamoured by their own emotion into murdering the prioress for an alleged crime, “they tore her one from another” (Lewis, 2008, p. 356). It is stark imagery which adds to a grotesque scene, the enthusiasm of the crowd where “each new tormentor was more savage than the former” (Lewis, 2008, p. 356). This is set against “the termination of her miserable existence”, where Lewis again employs language meant to evoke a sense of sympathy (Lewis, 2008, p. 356). The use of “termination” is also crucial – it alludes to a physical or allegorical reading of the prioress: that she analogises the church and the institution (Lewis, 2008, p. 356). Lewis approbates the corrupting power of institutionalisation by juxtaposing the horror of death against the pity it evokes.
The extract, and the plot as a whole, is a fairly strict denouncement of the bloodshed caused by the revolution and although positivity was on the decrease; Lewis slants his work against this thought too. His reaction is of a mediator, trying to represent both the advantages and disadvantages of political revolution. His message is made clear, whilst the individuals call for the prioress’ punishment to be left “to the Inquisition”, the crowd “demanded her being delivered” to them (Lewis, 2008, p. 355). The balance is lost, and irrational “vindictive fury” wins out (Lewis, 2008, p. 356).
I feel the death of the prioress demonstrates perfectly the futility of revolution. The piece of flint “aimed by some well-directing hand, struck her full upon the temple”; indicates the prioress’ relationship between religion and institution, and how she analogises both (Lewis, 2008, p. 356). This idea of futility is compounded upon when “She no longer felt their insults, the Rioters still exercised their impotent rage upon her lifeless body” (Lewis, 2008, p. 356). With “impotent rage”, there is not only have the overt sexual connotations associated with the Gothic, but we have a sense that Lewis is saying mob-rule will not achieve the ends the society wants (Lewis, 2008, p. 356). They kill the prioress – the institution – but continue to revolt and rebel; they “ill-used it” and “trod upon it” (Lewis, 2008, p. 356). It seems that Lewis agrees that revolution needs to happen, but that compromise and mediation is necessary for the right outcome. The hyperbole employed shows how futile the “impotent rage” is, and how a revolution lacks moral guidance (Lewis, 2008, p. 356). The message is clouded by the multiple narrative structures – most prominently the embedded narratives – but the whole text can be taken as allegory of contemporary societal thought. The confusing layout, segues, and the non-sequitur plot act alongside a train of thought which called both for revolution, for naturalism, and for hierarchical guidance.
Lewis’ work was immensely popular – published multiple times – but it still received criticism from both institutional thinkers, and revolutionary ones. Coleridge denounced it as “blasphemous”, and Lewis was referred to as an “unhallowed sacriligest” (Summers, 1968, p.218). It seems, however, that with hindsight, as Montague Summers puts it, “[this] can only be ascribed to an excess of that fanatical exhibitionism which shatter-brained cranks love to stimulate and indulge” (1698, p. 218). Lewis’ work capitulated to his position in society – as a gentleman – but it also sought societal change.
The Monk is a critique of both the revolution, and the reactions to it. Lewis propagates a message of compromise, and individualisation with restraint; a return to the naturalistic thought first announced in the Age of Reason.
And this - for once - was an intentional mixing-up of the fonts. :)