The Monk and folklore

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Authors Gaede, Ruth Brant, 1914-

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/319149 THE- 'FOLKEOHB1

by ; , ;

Bath Brant Gaede

: ' ''' : A Thesi^r ' .:-.v . V, - -. sabtiitted: to the if acuity pf the.-' ' . ' Department of English • : ; in partial fulfillment of the requirements for the.degree of

MASTER Of ART in the Graduate College, : University of Arizona

1956 /

Approved: of Thesj ( Date

Director of Thesis ; Date

This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allow­ able without special permission, provided that accurate acknowledg­ ment of source is made. Requests for permission for extended quota­ tion from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED: ' ' . ; , ' ' V . lABIE OF OOHIBMIS • ' - ' : ' . ":,; -' -./^' ; ■ Page FIST OF TABLES. . . * . ."v:y:-' « , « - , . . , . F - o - ill

Chapter : v / y\'T,:'y: 4 -

I„ IHTHDDUCTORYs ’THS GOTHIC KEFIVAL OF FOLICLOKS. . 1 „ „ 1

II. : THE .BIFBDIMG W F AMD miTIFDA. . T '. . . ' V F ». FL1

III.' THE STORY OF 'THES,MOMKt A,.CHARTIHG.OF ITS ICTIFS...... 37 17. MOTIFS: OF.' THE MOFR IN PBF-MOm( FOLKLORB . . ...'F> . .' $6 • :vf- moMZO,n- am ex&mfis- of Tm W :• - : ; PDST-MOMK; FOLISL.OHE . . . . ' . , . F . F , ...... 69 VI.. :G01C1US2DN. . . . F .■ . . . •. . . . .o . . o 65 LIST OF TABLES

Table

" I. Ambrosio and Antonia II." Raymond and Agnes...... c h a p S r 'i

:/V'^' ^t^ductbr^t^: ;The'; .C^.liblc -^y3,vai. of Folklore

. • Mhen The Monk, > a necrophilic and extravagant Gothic novels was published in 1796) it produced a sensatioti which the antagonistic re­ views: helped-to; ihcrease, Most reviewers admitted; that the novel was exciting but .charged it with "indecency" and "plagiarism,'11^ The last murmurs 'about The Monk's- immorality seem to have .been made in the. 1930 's,,2 but the: principal': present-daj. Monk scholar, Louis F. Peck, is

still very much concerned with plagiarism; in fact, since 1900 nearly . all of the scholarship on M. G,' Lewis has been a series of arguments,

'accusatory or defensive, about his 'sdurces, : ^ 1 : These, sources' of The Monk, -even when; literary;; - were ultimately ■

folk themes, \ Therefore they have been elusive, They annoy scholars, for themes - out of foiklore cannot be.pinned down to-prove or disprove

' ;/Monthly Review, XXIII (August, 1797), >511 Critical Review, XIX (February, l^?;)', 194-200; Scots Magazine., LIT (1802), 548; European .Magazinev: XXXI '(1797), 111-14,

' ' A;.: Baker, History of the English Mdvel (London, 1934), V, 205-11; J, M, S, Tompkinsj The Popular Novel in England, 1770-1800 (London, 1932)> p. 278, .■ v ' .

:"■■■ : .3- ; ■- 8^ ' ■ " :: - : ' ; 8 ^ "The Monk.and Le Diable Amoureux," Modern Language Motes,. LX7III (June, 1953), 406-8; "The Monk and Husaus 1 ’Die Entfuhrung,111 Philological Quarterly, XXXII- (July,' 1953) > 346-48.. - - Before 1900 there.was practically no Lewis scholarship. Chapter II discusses in detail some of the disputes, since.o , plagiarism. On that account the dispute's over Lewis 1 s alleged borrowing ■■ have remained lively, while the mpie : significant question' of what he did

. with the ancient motifs, has been almost ignored. Moreover,, the faot : that the sources of the Gothic romance were generally taken out of folk- . lore has not, apparently, impressed the students of the Gothic, . it ' least, no; authority listed in the Bibliography has ever made the ' - ; ' ■ channeling of folk elexasnts.into and out from the Gothic romance' his ,

primary point, of inquiry, y.,; ^ : h : ' v v:': Yet the rediscovery of folklore in the late eighteenth century'is

.so striking that it seems '"almost 'by itself to have launched the

Romantic Movement, If one views the phenomenon as a'" literary' M the. turn to.' fblk:miotif s .may be considered, as -part of romanticism's in­ clination toward .the. medieval, the outlandish, and the passionate, A .. Sociologist, might reasonably connect it with the new diffusion of. liter­ ature and. literacy to the masses.- For the folklorist, the motifs of the .

. Gothic tale have a different significancet they display' for Investiga­ tion an extremely.active example of a process that always- goes on^-the '

.shifting flow of folk materials into literature.and out again to the

area of folk transmission. - ' ' '■ V:; ' ■ :f hi s. paper, is addressed both to f olklprists and to students of: the- Romantic Movement, for a . single theme: from 'fhe Monk has, innumerable • lives and may reappear in a lyric conceived under opium,-or, 150 years :

later, in an old wiyes1 tale in- a comic book, i : ; .One of the early: Symptoms, of ^romanticism'as- a reaction against

^Railb comes the closest to a primary concern-with, folk concepts. V : Augustan restraint was that.' some literary men, in the. •latter part - of • the eighteenth century,;: deliberately sought out folk motifs for their ' productionso' They turned to remnants of Celtic mythology and to the . sad -and scary songs and. .bedtime stories of the nursemaids (even while . Richard Edgeworth, .as educator, was afuaouncing that children: should be • kept: away. f ibm- servants because '.of their ^pernicious fairy tales). How­ ever, men , like Chatterton, ..Eacpherspn, and Walpole: had no scientific interest in literal authentidity; they had no quaint about faking the

■ discovery of antique ballads or pretending to translate a manuscript , of the time of Luther that perhaps some "artful, priest" had. written, "to. confirm the populace in their ancient errors arid \superstltions„" Even Percy, the eighteenth-century antiquarian, drastically rewrote the :

ballads in. his collection to make them more-affecting-(one.surmises that he must have delighted greatly in the•ballads for themselves, even as Sco.tt did, to have ever initiated his collecting- and -then - persisted in it), Scott was as obnteht to compose his o m Scottish: ballads as to / v ■■ - ■ - , , ^ \ ■ ' - . _ n . ' ' , • ■■■;' , .. -■ ■ r / - . ' _ . collect those that, were authentic. But' gradually a.scientific^atti­ tude dominated-, even though more or less, of aesthetic, pleasure remains

Preface to the first edition of The' Castle of Otranto, ^See his justification of Percy1s rewriting'in "Remarks on Popular Poetry," Minstrelsy of the Scottish Border (London, 193L), pp, 519-20;’cf, Kittred.ge's defense of Scott's changes in,ballad texts, Sitroduction to English and . Scottish Pooular Ballads . . / (Cambridge, 1904), p. xxix. See also Scott's words:on imitations palmed off as authentic ("Imitations of' the Ancient Ballad," . ' Minstrelsy, p. 540,): "There is no small degree: of cant' in:tie :vi- .olent invectives with which impostors o f .this nature have been .asr* sailed"; of. Kittredge.'s defense of Scott's own alleged palming off of "Ki'nmont Willie,11 Introduction to English and Scottish Popular Ballads, pp. xxix-xxx, • ;; ■ .vC;"--;y: ' ; ' even ;no"M' 'for a collectorj ■ Southey as early as 1$03 wrote in criticism of Scott tlaat, • ^Whenever he patches an old poem, it is- always with new '

bricks„l!<^ ■■ (His disapproval, 'however, was still' more aesthetic than

^scientificy): ;;;; ^ ; ■;' ;■';; ; v; : * r ’,EQriki, l^eitisffaimsel£(.hpatined with; his; short life ,both attitudes: ■■■

'toward folklore» i.t the beginning of his career, in 17%, he gathered together grisly motifs in The Monk, being deliberately vague- about . where he got them. . At the end of his-career, in .1816; and 1818, he recorded West Indiaif folksongs, gtales,and: riddles without aesthetic; relish but.with the detached curiosity of a scientist. He would then ; : conscientiously note the cause of composition, when possible^ and how

: -' O ' f ' ' f': . ' -1 11."'- 0 ' 1'-' - i':':/■ he came to hear the “nancy" song or t a l e . ;George Lyman:Kittredge,

100 years later^1 was to use him as an :&uthority on West Indian: wereT- ■

; .. wolves and medicine men. . . ,„; . g .

The merging cf. the' two - attitudes shows in an article, "Antiq­ uities of Nursery Literature,11 in the Quarterly He vie# (1X1,; 91-112) for January, 1819; Francis; Cohen (latef Frahcls Palgrave) reviewed a: collection of fairy tales and -combined- recollections of. his own child-- : hood tast® in nursery stories with theories of the Ladle and Ihdo- . European'origin of f o l k t a l e s . ' ■ v ' - ' ; : %.ife and Correspondence (New York. 1851), p. 161.-'; -..f-.- : ^%e e his "Advertisement" to The Monk. Cf. his annotation to The Bravo of Venice (New -York, 1810%" p, 1?: "I suspect that some­ where o r . dther there exists a scene in some degree resembling this: interview ; » .' but whether 1 read it in english or french, Spanish or german, X have not the most distant,recollection." By this:time \ -Lewis waS' becoming a little exasperated xd.th charges of plagiarism.

. His accounts were published, in his-Journal of a West-lndia Proprietor (London. ■ 1834.). . '. ‘*"%ee his- Index: to. Witchcraft in Old and New England, (Cambridge, . Mass., 1928). - - ■•■■■ '-- ...yy- . -y ' \ ' - -y; ■■ ' ■ ■ ■ ■ - ' . ' 1 " V".1: '• 5 . ■ & 'the l% 9 0 '-s the Gothic roioance. whs. a hodgepodge of old' -folic . motlfSj' no one had: yet thought of 'repofdlhg a ghost story with sclentif* Ic accuracy. . Though the motifs were old- the Gothic .tale itself was ' fresh and new and at the height of its sensation and1 influehce when ' . ’ ■ Lewis w o t e ,The Honk, .and' in part.'because, he Wrote The Hoiik. . ' •. ' . . Borthanger Abbey, Jane Austen's light-hearted ahti^Gothic nbyel, was ; written in 1797 hut not published until 181$, when public taste- could - ‘ 'accept it. The Romahtic'foets, even though they scoffed, ,fotmd .Lewis ' and; Ann Radcliffe excitingy' in'the days before motifs had'been scien- .

' tifically processed. >V.'V' ; ' /■ t; : Ancient folk motifs exerted their- greatest influence, on creative

■ writers during the last few years before folklore became, a'science. What the change to the status of a. science has meant to the continued . . transmission of folklore is Uncertain, : A .recorded motif is. not always ‘ ■ a dormant motif5 though it often is) to a casual observer' there - seems '.

: to be some connection between research in folklore and a decline; in > - folklore.: At; least one can. Say that in 1796 .there could have been no • possible complication, from any scientific awareness On the part of the writers, of the way that living folklore worked its course i n .

^ T h e . folksbng; nowadays i for instance, insofar as it exists Only in the Library Of Congress and the nightclub, is a folksong self™ consciously; its normal evolution in folk transmission haS been inter­ fered with. But perhaps its - normal fate in this century was to die. .■ Its death,' then, would not be: .attributable to the 'fact that its motifs . r . . had been classified, but the same cultural .changes' that made the ; : . ‘ '= ' classification possible' would have killed the song:," The folk do not abandon their lore because ' students have made up a.science .about it, rather the folk is busy creating a new lore: in a new world. However, ■■ There has always Been a-shifting- realm .of intercourBe between the • , lore that exists in folk transmission and. the literatnre. that, is' a de- . .liberately mnnfantured art. Folklore themes and folklore characters invade many genres of literature^ appearing out'of 'one book to enter another or to be shifted again into the area of folk'transmission. The process is as old. as Homer and presumably much older; one can even argue ■

that at its. hypothetical origin any folklore motif; was pure literature. However, the Augustan Age. was comparatively free of such Infiltration.^ m contrast, the turning to medieval and eastern folklore of Walpole, Beckford, "Ossian," and .Chatterton was an obvious and dramatic reaction that heralded the Romantic. Movement. . . Burke had given this reaction its sanction with his essay "On the - Sublime and the Beautifuluj at least, violent and macabre folk motifs crowded into literature afterwards. Burke approved of terf or as a source of the sublime,, terror. being ..the strongest emotion of which the • mind is capable. It is possible to review all Gothic - tales as ex- ; ' tensions•of the traits contributing to sublimity? infinity, magnifi­ cence, obscurity, power, privation, vastness/ and difficulty. The

the professorial perspective -necessary for classification, and analysis is' more easily" attained on distant material— that removed in time and space— and that, ' perhaps, is one.reason why so much.classified folklore seems inactive. But the folk 'motifs that ."Monk" Lewis used were very much alive, or he could not arid'would not . have used them. "Whether folk motifs could suffer any distortion from becoming, part of a science is unknown, though it is not too far fetched;to imagine a writer dipping into Stith 'Thompson1s Motif -Index and using it like "Piotto." \ A -a :: - ^^ddments" of Eastern:' tales- that appeared in The. Guardian^-for .exanple ■ Lewis to avowed source" "Gahtph;.Barsisa"--were.:- kept isol as curiosities for_which there was a'public appetite. sublime not only is created by terror :tet produces. terror/-said Burke., and astonishment, as well.. Also, the pain and. danger that cause terror : - are, at a proper'distance, ■sources of delight. The essay reads like a blueprint of what Gothic novels later attempted! The connection between Burke and the Gothic was apparent to Coleridge, who in his review of The Monk'criticized- it on Burkean principles with Burkean phrases. . The Monk’ appeared .just before the great productions, of the Bomantic Movement, ■ ■ and- it was read by 'practically, all the Bomantic poetSs It came late enough in; the: literary revival of folklore to build on the ■ more primitive ;attempts ..like Walpole's and to. take advantage of col- lections of ballads and folk' tales newly published. Yet it name'.'before the Gothic medium was exhausted and its: readers: were' laded. The Monk is a still, better choice’ for analysis than one Of Mrs. Badcliffe^s : .

contemporaneous novels, for it throws .in the motifs much faster and - - more’ blatantly, without her . leisurely atmospheric effects.: . ■ ' v .. .. ' It also: displaysy as no1 other ’English novel can, how German folk motifs affected the English 'Romantic ‘Movement, Lewis wrote The Monk after, living at Weimar, where he had. gone to learn the languageand his immediate written sources of episodes in The Monk- were nearly all : • German. • Very few Englishmen- at that time knew German. (Byron knew. Faust' only from the, sight translation that Lewis read for him... Scott1 s knowledge of the language was halting compared to Lewis ?s. ) Except for translations> the transmission of German Gothic lore into English ' .

■1 Critical- Review, XIX' (February, 1797), 194-200. This article is reprinted in. Garland-Greevefls 4 Wiltshire Parson and His Friends (Boston and New York, 1926), pp. 191-200. ■ - . romanticism seems to have o c cur red .directly through Lewis, and. through., ■ ,, - - . 1 6 .-c'.'-;:- ' - •: ^ . ■ : ';; few others. \ . v■ \ ■ ■ • ■ .Lewis was read with unqualified enthiusiasm by Shelley and by the

Victorian Eomantic (as his biographer. Doughty^: cails him),'; Dante ■ . Gabriel Eossetti. - Lewis was' the mentor of Walter Scott and,. by the ■ example of his ballads in The Monk, inspired Scott 's first poems. ■ Other Romantic‘poets,‘like Byron and Ooleridge, both scoffed and ad— • mired, then (as will appear) used his materials. Wordsworth had out­ grown his Gothic period before. The Monk was written, and he only .

See Scott's opinion in Minstrelsy of the Scottish Border. pp. 550-51, and- George Daniel1s "Remarks", prefacing The Castle Spectre, , Cumberland's British Theatre (London, ISZ?)',. 3V, 10. ‘ “^Thomas Medwin,. The Life of Percy Bysshe Shelley (London, 1913)> pp. 25, 155-56. : ; ; ;; ;d "1 ' ■ ^^filllam Michael Rossetti, "Memoir" in.Dante Gabriel Rossetti, v. His Family Letters, I, 60. . . d \ ' v -d ■ 2.Q d • ■ ' d. ; ■ . ■ ■ d - "d ■ . • '' ^ - , ; / Thomas Medwin, .Journal of the Conversations of. Lord Byron (London, 1824), p. 201; John Lockhart, Life of. Sir Walter Scott (London, 1837),dl, 292| .see also Lewis's corrections of Scott's ballads. Minstrelsy,: Appendix to "Tmitatipns of the Lhcient Ballad, " pp. 5b5-67» Journal of the Gonversatiens of Lord Byron, pp. 186, 189-911 English Bards andj Scotch Reviewers; 11,, ' 265-282. -. ■, .

, Samuel Taylor Coleridge, WorkSy I I I ' (Blographia Literaria) (New York, 1884), 389,= Letters ' (The Grey Walls Press, London, 1950), pp. • 176-' 77j Letters, Conversations and' Recollections of S. T. Coleridge,. Thomas lllsop, ed. (London, 1836), I. 236-38; Critical Review., d . ' . ' ■. d

. ''ietter;tQ;''Re^pids.Qf'IferchL4>.'’iSi^. (p« 113 of .. . his Letters'. Oxford University Press, 'Nex7 York, 1935) 1 cf.: Martha Hale -d Shackford"s. article', "The Eve of St. Agnes and The Mysteries.of. Uddlpho, » ,P1LA. JQGSTl (March,' 1921).,. 104-18. " ' d . v:v 21 22 ' 23 24 , ' ^ scoffed, Hazlittj Goleridge, - and Seott praised Lewis!s poems, ■ . • ‘' . : : ' ■ ' 25 ' 'v ■ . though,Southey wittily' disposed of his poetic pretensions, Hazlitt -■/" and Coleridge singled out for special praiselpne poem from The Monk,

"The Exile,": ; , ' v ■ V ' -"'I’ The very pattern of scoffing and admiration may have reproduced itself in lines:from Don Juan that have beenargued to be a transforma­ tion of "The Exile, " In a. letter to' the Times Literary Supplement, . Hoxie Neale Fairchild has -proposed that- Don Juan's "blend of: romance ' and anti-romance" exemplified in the hero's noble farewell to - Spain? : ■: :: V . . < - ■ . '. : 26 : followed by his seasickness, is the Byronic rendering of "The Exile," . He points out that the two farewells are similar and that the rest of "The Exile" contains lines that, to a poet hunting for satirical effects <,.

might have Suggested seasickness, ^

■ 21 ■ ' j ■■ * ‘ ’ :.. / . * ; * ’■ ■■ ■ *, ' y ■ , - : ;: ■ . / . ; ^ .. The Early Letters of William' Wordsworth and Dorothy Wordsworth ( 1 7 8 7 - 1 8 0 5 ) , Ernest de Selincourt, ed, (Oxford,. 1 9 3 5 ) , pp. 1 8 7 - 8 8 5 see "also," for Wordsworth's ridicule of "Alonzo" in The Monk, Louis F. Feck, "Southey and Tales of Wonder," Modern Language Notes, L (December, 1935), 514. . ' ; J-yr-V; ,

: ^^Lectures on the English Poets (Comic Writers in the same volume) ( L o n d o n , 1 9 0 3 ) , P » 1 7 2 , . : v;. : ^ Letters , , „ of S.; T, Coleridge, 1, 237; Critical Review, ' ^Minstrelsy of the Scottish Border, p, 552, ' ' 2%jfe and Correspondence, p. l6ls: "'Sir Agrethron" fslel is flat, foolish, Eatthewish,' Gregoryish, 'Lewisish,. I have been obliged to coin vituperative adjectives on purpose, the,language not having terms enough of adequate abuse," , let, as 'Sara Coleridge:points out in her notes on Biographia Llteraria (Works, III, 389n), Southey himself borrowed for a ballad the "overpowering1' - meter. of "Alonzo" to which her father had : _. - taken exception^ , 26 ;;"V. f "::: . : May 11, 1946, ps 223, :\r-.,-.;,;, :; ^ _':; '. - ^ \\ t: - ^L.; ^ - - v ■; } k ^ - - ; 10 This saying farewell io . one's nati-y-e 'shore is a .miversally re- ' enrrent theme. . The ; Monk is' a .coimemid. of such folk- concepts 3 - hero- ' -: : ' types^ ’and specific motifs out of folklore. They have frequently re­ appeared ^ since The Monk came out in 1796, in literary and folk trans­ mission. As Fairchild proposes for Byron, the imagination.of a writer may sometimes have transformed a Monk passage into a. Bomantic 11 joy- forever.11 When a folk type - like the -Wandering Jew (first mentioned in thirteenth-century chronieies) continues to reappear long after The - Monk.\there is ground for a.great deal of speculation* ‘ how-does h e . /change?.what conceptions may-he bolster?, how much did lewis reinforce his existence? / - : • . The"answer to such questions will have greater authority as

scholarship reveals more about folklore transmissions. The Romantic' - Movement^ as .this thesis will demonstrate, made particularly lavish use

Of folklore just gathered into the'medium, accessible to all, of the Gothic novel. A study of 'one. Gothic hovel. The Monk, should illuminate . the exploitation of folklore in romanticism by showing hoW-the'motifs . Were .-absorbed in a Gothic tale and where diffused, and with what later - ' . - •' - "■ '■ ’ : ,- - ' ' ' ; " 28 ■ .. ■ v ' ■■ effects on the current of literature and on folk concepts. ,

‘ 2? - : - . V . . ■ - ' ' ;' ' ' Otto Ritter, , in “Studien su M. G. Lewis1 Roman •Ambroslo, or .'The - ■ 'Monk, 1,1 Archiv fur das Studium der heueren Sprachen und Literaturen. ...CXI (1903)5 119n, notes a similarity of ''The Exile11 to Byron's "AdieUj, . my native shore"" (Childe Harold, -I, st. 13) but attributes it to their . common subject matter. .' ' . ' ’' , " 28 : ‘ t ' - ' ' ’1 ' - -1 :' \ . ' ' ' The, possibilities of Stith .Thompson's Ifotif Index An literary re™ I search have not yet been realized,, and this paper may be incidentally use­ ful An pointing- to a source that/could - be used by students! interested in - - the elemental concepts' that persevere in the literature of sophistication.. CHAEIER II v

; The BTeeding Hun and. Matilda

The Monk .is- set in late. medieval Spain and .Germany, conveniently remcte from eightee.nth-cehtury England,. It uses the typical Gothic . • settings of castle,. conveht,>, tomh, monastery, .forest (with robbers1 den), and Inquisitorial prison, like other Gothic tales, it'relies for

atmosphere en ihaccura,te Catholic trappings while in bias it is anti-

There are two story threads, which touch'at the beginning and near, the end. Adaptations from. The Monk--dramapahtomime, .opera, or rp-

ms.nce— commonly use only one; Of the plots.lewis 1 s method of jumping from one story to take up the other builds bofh suspense and confusion:; the: Monk, seduced, falls on his mistress ' bosom to remain, there for 11? pages while the other ■ story, narrated as a flashback,, makes several .years' progress', If is possible to justify the way that lewis separates .

and yet relates his tales; it pleased Coleridge but has displeased most

f -other critics, . However, as', a preface to: the examination-of' folklore motif s all ..that .is.. needed,..is some clarity about names and events. For . i: this the two.'narrative threads must be kept .separately in mind. . -

^See Montagud BummersThe Gothic Quest, (london, 1938), pp.' 192-97,. for a discussion of Catholicism in, the ; Gothic: hovel.: : , ^Summers (ibid, ' pp. 228-3 2 ) describes a number of these adapta­ tions . See also Alice Killen'.s bibliography in le Roman terrifiant (Paris, 1923), pp. 227^28,f2 3 1 - 3 5 r . o;: j il'f / ' c; -.': - . ;v ,.V Each plot has. its persecuted: maideh:, Antonia1 s ' ruin is plotted by the Monk, AmbrosiOj 'after his. oTsin seduction by the lovely succubaj Matilda. With the help of MMtilda. and the Devil, . Amhrpsio eventually rapes Ahtonia (who is his sister), after killing her mother (his mother). After this rape in'the convent tombs/" he stabs Antonia to death. Condemned by the . itequlSition, • .AmbrOsio,. to save himself , makes a compact with the Devil, who then mocks at and spectacularly destroys

•' The other persecuted maiden, Agnes, is. incidentally persecuted by Ambroslo too. He causes her to be entombed for lack of chastity, his -p own sin, in the same catacombs where he will rape and stab Antonia. But first. Agnes has other adventures.. Destined to a convent against her will, she has fallen in love with Baymond) a young Spanish marquis, - and plots to escape from, her unclefs castle disguised as the family ' ghost, which is just due to walk. . But'the. real: ghost, yknowh- as the - Bleeding Nun, elopes with Raymond instead. Eventually the Wandering

Jew frees Raymond from his ghost, but in • the meanwhile the deserted. > ; Agnes has. become a. nun. Raymond finds her, gets her with child," and. plans an escape from the convent. But, discovered, Agnes is buried, alive with crawly creatures; after its birth and death she fondles her decomposing baby in the tomb. Her rescue, after several months, coin­ cides with the murder of Antonia and the unmasking of Ambrosio, ; The; / two stories are connected further by the fact that Agnesr brother, ,

Inrenzo, . is in loye with Antonia, who is..herself the niece of Raymond. But Raymond and Lorenzo are .subject to sickness and absences, preventing - assistance to either persecuted maiden.. .' This syriopsis omiis episodes5 like Raymond's adventure with a band of robbers, and tells little of the Monk1s .temptation by Matilda, a lady enamored of him who disguises herself as a monk.■ Matilda turns out, to be a dabbler in magic'': chemistry and to, be in league, .ifith. the' Devil; at the end of the book she is said to. have been a fiend all along, a " . mere succuba. The passages called indecent were, ,as- might be expected, those, that described Ambrosio's seduction, his later pleasures viith Matilda, and his attempts on-Antonia; but-also'' Goleridge. and others ob­

jected 'most to 1 some gratuitous -satire on the immorality of the- Bible.

Such theme S. ..as these, with a number of. interspersed poems, covered over 100 pages; yet, with all it-p details; the book moves along rapidly. This paper will not attempt to,, discuss all the literary sources and subsequent literary borrowings of each event or' character in The ;/ Monk. The. paper cannot trace all of; .Lewis's indebtedness to- particular

folk tales of the past.- And it-is quite 'impossible' to prove that any­

thing in the Agnes and Antonia stories-corruptions. as they were of folklore^-ever went back via .The. Monk into folklore again;. . , ■ ' : ■ -, Nevertheless, much can be done. The rest of this chapter will, by way of example,, discuss, the- sources of one episode, that of the Bleeding Nun, and the specific borrowings' that ensued. In contrast, as an ex­

ample of the speculation possible on the use of folklore, it will dis­

cuss the antecedents of Matilda--less: tangible and immediate than the

sources of the Nun— and Matilda's possible ramifications in the nine­ teenth and twentieth centuries. ,f The; charts of the following chapter* will then be limited to ex­ amples of antecedents; for each, episode; however, they will include all of the, generally accepted specific bprrowings into and out from The ' Monk, No more c.than examples. Tfj;!!! be given of the .instances when one can speculate, that The Mdhk .has- re info reed Some f dlkloristic literaxy , ' concepto -i^ lisfihg* of.' ail the^post^lkbhk;appearances of the Wandering

Jew, for example) would be not only impossible': but uninstructive, . In the tables of Chapter III there is no column for returns into: folklore 1 (These "are demonstrable. only when.) after a definite change of ’

the material taken out of folklore) :what;is then returned'to,folkloW is in the binding form of a ballad)- riddle, or proverb. Therefore : " Chapter V is a discussion of what in. The Monk: met just these/ specifica^.': tlons'5 ?the' ballad of f'ilonto the Brave ;,and Fair Imogine,11 And mean- t ■ while . Chapter BT) by citing 'analogous, f olk t&le8) will have suggested , the universality of The ibnk1 s motifs as: well as their undoubted roots in medieval European folklore. , V : - '

- Mhtilda). when lewis'fomd her) "was a character already ubiquitous ■

in folklore s the she-demon, ' How this f oik - concept, t ransmitted; through • lewis,.- has affected . later' literature is problematical. The question may fittingly be dealt with, as an .-example /of: tie, theorising,: on indebtedness _

that can result .When an ..ancient folk concept invad.es literature, - Characters out of folklore are less tangible than episodes oUt of folk­ lore and therefore, they are less' likely' to occasion scholarly' interest in borrowings'. 'Matilda: has fared differently'with students- of "Monk'1 .'lewis than, has the Heeding Nun. . ', .. .1 - ' ...... -.

. 1 , First): so that the contrast. with- Matilda can be understood, , : . scholarship on the Nun episode, may be briefly, summarized. This lovesick spectre provided a complete ghost story within The Monk,, The main idea,

that of the hero niistakenly eloping with a/revenant, already1 existed in- ■ folklore. Shortly before Lewis' wrote, at least three analogous stories. . were,published' in German collections of folk tales. If lewis did borrow from these collections, he was using written sources that are, even now, accessible; the borrowed material in the case of the - Hun was not at. all nebulous, being a particular,, eyent ;and perhaps a particular • jingle' shbken by the Buti. '■ Therefore the issue of indebtedness,has , . seemed clear cut; when lewis .scholarship, began, the Hun proved inviting to those Inyestigators who like to ferret facts objectively. But ' simply because the material was, if ter all, folklore: thescholarly .footing was. deceptive. The Bleeding-Bun controversies'are Worth following in some detail, for they :show how folklore can- confuse ' the problem of influence ■- and borrowings when it infiltrates.; literature.;; Folklore became, a compli- \

cation, in the case of The Honk,• simultaneously with publication, for '

Lewis, anticipating- the:'. charge of piagiaris% wrote, that'-he had taken the' Bleeding Bun from a Gdrrton 'tradition. •' -Later, • denying-plagiarism, ■ - V v; - ''..Vi.'; U'. . ■, i-. '-i; .gg: ' he called-.the Mun's episode 11 the story, which was related to .me.11

V -A refrain .spoken by . the. Hun has Come . to te; a focus for.: scholars' : . , -

■: who discuss borrowings:. ■■•-.'.'I.''.' l

. ^J. K. Jl. Musdeus. ~ "Die Entfuhrdng, Volksmarchen der Deutschen (Gotha, 1707) i T, 247- 7 6 ^ - Benedikte. Haubert, “Die wei.sse Frau." Die neuen Volksmarchen der Deutschen (1789-93) j ICajetan Tschink, Bunder- - geschlchten sammt dem- Schldssel zu ihrer Erklarung (Yienna,. 1792}.,' - '' - , - -' ^^%dvertisementY to !The Monk. •' ' y ; - ; ^This phrase was' in. a 'footnote id ihe ' fourth and fifth editions which is reprinted in. the Grove edition, pp.'. 429-30. ; ' : — V. \ land; eds^t Raymond! Raymond! Thou art .mine! „ . . , ■ Raymond!'Raymond! J. am thine i . ... . In thy "veins "while blood. shall roll," Leave thee will I never ' ■ : 1 am thine! : ’ ' v. ■: ■ . ■■; . ■■ , , . ' ■ - : : Thou art mine j-..- ^ 16.116; thy body!,Mine thy .soul! ' Body and soul "forever!) . Lewis's aforementioned footnote oh the Nun explains that the story he heard inoorporated the verse - ; r . Frizchen! Frizchen! Du hist mein Frizchen2 Frizahen!. Ich"' bip^ dein!:%y- - / ■ :. i: V Ich dein! ■ - : Du mein, , • y ': v: I" '■ ; - ■ Mit leib ' und seel " . , ' - and that these lines were spoken by the spectre of a nun which, in the place of the heroine, had eloped from the Castle, of Lauehsteln with a young army officer, . Fritz. The names and circumstances given by Lewis / were also those of . a ghost story, - "Die Fntfuhrung, 1 published: in 1-787 by J. K.; A. 1-iusaeus in his Volksm&rchen der Deutschen. In "Die „:Entfuhrting"..the- "Frizchen" verse was rendered "Friedel, Friedel, schick1^ dich'drein, ich bin dein, du. bist'mein, mit Leib und Seele. If we accept Lewis's admission of indebtedness to the story he describes, the only possible issue Is oyer whether he read the tale or heard it. In all the scholarly argumehts about Lewis and Husaeus, ho ' participant has ever explained that the question is limited" to: reading .

vs. hearing.

In Philological Quarterly for.July. 1953. Louis F. Feck defends : Lewis ^ from old plagiarism charges by quoting, from .a letter Lewis wrote •

■' 3L -. - " ... . . " : :. - - : ' . -. y - • The" verse .is ..quoted in Otto Ritter's article in Archiv for 1903. p. lQ7n.. A synopsis- in French of ""Die Shtfuhrung" is given in. Le , - Roman terrifiant. pp.- 215-16... y ■;: v : - '... to Scott in' ISO?/ eleven years after publication of The Honk, According to this:, letter lewis had himself / apparently, just discovered his Bleeding Hun source written down in Musaeus. It appears that if a folk legend gets into' print, its re--use becomes plagiarism, but only if any-r •. one can prove that the borrower has read the written words; a writer ';should take care to have folk tales read, aloud to him and never touch v the book himself, : v : " : . • / ' '-/ Beck waS not the first to'hse "plagiarism" to describe Lewis 1s snpposed borrowing of Musaeus 1 phantom ancestress, Walter Scott,.- - always Lewis's friend, had done so in his "Imitations of the Ancient

■ - U:' \ i:: ' -v:-;'v: Ballad," ; Previously, in 1818, William Oxberry, the actor, editing Lewis's The. Castle Spectre, had written/ t;lhe whole story of the 'Bleeding hun^' is borrbwed, and much'of the language, too from a tale ; ■ : 36 :: : : ' 7 •' : ■ i " . > - ; In the Volksmarcheu," - ; ;

' ' 35 . ' : . ' ' : . ' : ■ . " , This essay was- written in April, ^ 183Qas an addition to •"Remarks, on Popular .Poetry,: On page. 352 of the:'1931 edition of Minstrelsy of the Scottish Border will be fouiid the remarks of Scott;

Another' peccadillo of the author, of The Monk was his /having'borrowed irom Musaeus,'and from the popular tales of - . . the Germans, .the singular and striking adventure of the / .. Bleeding Nun, But the bold and free hand with which he traced some _ scenes „ ■« , shows/distinctly that the •.plagiarism could not . have been occasioned by any deficiency of' invention on his part , ■ though it might, take p.ll/ce. from wantohhesS 'Of wilfnlnessi ./ -

Scott,- in his phra.se "popular tales of the Germans," was not 'necessar­ ily refefring tp tales in oral transmission as distinct from those in ".Musaeusp- he was probably.adding an explanation of what it was to borrow from Musaeus"Popular Tales of the Germans" was the title under which Musaeus' ^ collection was translated into English in.1?91. . ^ The Castle Spectre, The-Sew' English Drama, 17 (London, 1818), - ; p. i-v--; ■ : .■:.: • i / ; . ■ . : ■ : .Whenjv. in 1900, : the first article'Bf modern -scholarship on hewis ap- • peared, ''Eine neneQuelle fwvhewis-? HDhkji11 Georg Herzfeld's "iieue 37 quelle" turned out to be the old!:.; M^ e u s : Story:,; -1 The. same journal in ■

1903 published1 a: second - article this one by- Ottoi.Sit ter, on the sources of The Honk. . Ritter followed'.up- on the. specific suggestions of • borrowings provided for h m -in the Critical and Monthly reviews back • in the eighteenth century and moreover agreed with Herzfeld that Musaeus

. had fuMished the Bleeding Nun. • His new ev.idence was a parallel passage concerning- 'Antonia and his. mistaken notion that the . eloping' ghost in Lewis had the same light-, satirical.'-handllng- as in Musaeus. .

37 : . • ' . r . " . - . : Archiv fur das Studium der neueren:Sprachen und Literaturen, ;CI7, 31P-#..v::' : : . -, ' ^"Studien zu M. G. Lewis' Soman 'Ambrosio, or The Monk, 111 Archiv, .CXI, lo^si.;v: ;v;; -:f; i 1 1 tt'f : . .

The- same: volume of"Archiv set off a squabble between Herzfeld and Ritter over whether a German romance. Die■ .biutende Gestalt ~ f bleeding shape] mit Dolch und Lampe, had been.-plagiafized from The Monk or vice versa. - The references on the exchange are. Herzfeldy "Die eigentliche .'Quelle vbh Lewis ' Monk," Archiv. GXI'.(l9Q3)5 316-23) Ritter, "Die - ' angebllche-Quelle 'von:M, G. : Lewis " Monk. " : Archiv, CXIII: f 19QA). 56-65) Rltteit a ‘notice under "Kleine Mitteilungen,;" Archiv, GXI7 (1965), p. I-67 j He rzf eld, "Noch-einmsl die Quelle des 'Monk, 118 Archiv, 0X7 (1905), ,70-73, V ly'/?:- '.-'t y't; ,5 : f f.';:; 1...;..' ' ; ■ :: , / August Gauer,; the editor of Grillparzer, settled the 'controversy , by a comparison of Die biutende Gestalt with the first German ti-ansla- - tion of The. Monlc (1797-98); the parallel passages were noif practically identical (Grillparzers vferke. ^Vienna, 190913 ) l)» Ritter i n . 1905 had fd1md,-':'h:'1799'.,;hewspap.e;rreferehce tp Die biutende Gestalt as a book that had- just.appeared. Lexis 's-plagiarism, of Die biutende Gestalt, even - after his vindication, was. charged again by Helene Richter in Geschichte der englischen Roimntik (Halle-1911) . by Rudolf Schneider' in. Per Mdnch in der englischen Dichtung bis auf Lewis' s ?'Monk"- (Leipzig, 1928), and by Miss J. Mi S. Tompkins in The Popular. Novel in- England, 1770-1800 (London,)1932):) p. . 2A5n. 30 . : : • ' : - .: Archiv, GXl, 10^,-:'lG7n, Most investigators still' assme' that.Lewis got the Bleeding Nun But lonis Peck is writing a book on the . life and works of lewis and will, apparently, minimize the possibility of such a. borrowings :HeHe will probably also, on the evidence of the same letter to Scott, cast doubt on Benedikte Naubert1 s "Die weisse Frau11- as a source, endorsing Lewis 's claim that he was indebted only to oral tra- dition. .The. antiquity of this tradition-is indicated by the fact that a similar story about a "weisse f-rdu" was printed in' Nuremburg in 1695, in Erasmus. 'Frandiscus ' Der hdllische Proteus.'. The actual forerunners, are perhaps.as remote as the: origins o +'‘’'('ln“ himan race; a pione anthropologist, Edward B. Tylor,1 discusses the .deep^lying belief pf widespread primitive'peoples that souls of the dead will walk until

their bodies' are given proper' burial— which .was the Nun's motive all 43 along

Summers 7 for instance. writes that Lewis "undoubtedlv" found his ,tale in .MusaeuS, but Bummers..is here much top facile s- his next sentence •. is, ."Musaeus,,. , - „ was perspnally ddrown to - and had. often discussed German literature - with Lewis when -''the Mpnkwas residing in Weimar" (The Gothic Quest, p. 223), but his own footnote to this' passage says that Musaeus. died in 1787, five years before Lewis went to Germany. ^Lewis's letter mentioned what was apparently the Naubert collec- . tion as though it, too, had- just . been read by him for the first time. Naubert's '"Die weisse Frau" is the only' Bleeding Nun source cited by - Douglas .Yates in his Franz.-Grillparzer(iTOxf0rd, 1940,. P« .'.27,). . Yt was ‘ also suggested by Rudolf Fiipst in his Vorlaufer der mode me n Novelle ((Halle, 18973’, PP«. 88-99') ° 1 Gonceiyabl^ the Naubert collection was the - . Volksmdrchen named 'by Oxberry (supra, -p. -17). • ‘ • ' ''' ^Saueri iu Grillparzers :Werke (introduction, I), considers this, ' ' ’ the basic story. . Tales commonly existed in oral tradition, for centuries before their inclusion-in; such books as this. • . > v.

Primitive Culture (New.York, 1889), II, 27*2%. 20 . The Nun bled "because she had been murdered; that she should bleed was Lewis1 s Innoyatlon and' shows his recognition' of " the primitive - f as- cination of blood, ofv/what iowry Charles Wimberly,^tmder..the heading "The Blood-r^oulj,11 describes as a widespread folk belief that blood has : : : ■:. ■ i;",. 44 '■ if . ' -r..-;'" ■ " ■ ' mysterious powers of its own. The Nun share s % th ancient - ballad - ghosts their characteristic "orporeity, for, says Baymond, ; "I beheld before me-.an animte.d:' cb^RSe. .The motif of a kiss from-the dead,, Hike that implanted' at 2 o ' clock each morhihg" on Baymond by t he Nun, • is present in Child 77^(“Sweet, William'-'s Ohost"), .Child. 784"- (“The Unquiet

Grave11.), and,Child "9S (“The Twa Brothers11) . , Raymond has ,a- wild ride . with, his revenant like that .of the farmer's daughter in the "Suffolk

^Folklore, in . the English end Scottish Ballads . (Chicago. 1928)', , pp. 72-82, See also Tylor, Primitive Culture. 1, 4^1, on the identity' of blood with soul and Kittredge , ' Witcheraft in Old^ and New- England, p. 345, on the belief that a corpse by bleeding reveals its murderer. . ' The . links of the. Bleeding Nun to public phantasy are shown in this • news item about a", bloody, ^vengeful revenant: (New England Joumal, December 1, 1729): . v . - 1 ',. last week, bhe belonging to Ipswich came to Boston: and : related, that, some tile since, he:-was at Canso, iti Soya- ' Scotia; and that oh a , certain day there appeared to him an apparitibn in biopd and wounds, and told him, that at such a time and place,,mentioning both,: he was murdq red by one, who was at Rhode Island, and desiring him'to go to the said person, and charge him with the said murder," and "prosecute; ; him therefor, naming several circumstances relating to the : , murderj and that since his arrival f rom Canso to Ipswich, the : , . said apparition had appeared to him again, .ahd’,uc,ged-'him. ", immediately to 'prosecute the said affair.;. The.above said , ' person, having related the matter, was advised and encouraged : 'to go to Rhode Island, and.engage therein, and"he accordingly •set out for that place on Thursday last. " v':-'' v (Reprinted in' Kittredge; The Old Farmer and His Almanack C Boston, - ■: 1 9 0 0 , pp. 73-74.) - " : ' ; V ■; . ■ . :: .. . • . ( .. ^Folklore in the English' a.nd' Scottish Ballads, pp. 100-1, : : 226—39..: . ■ ' ' ..l.V. 1 -'l" : ' ; ^ v 21 . Miracle11 (Child 272) „:, Sich are the "ante cedents11, of the Bleeding Nun episode, as distinct froA its "sources." . : ' ■ , •

■■August-Sauer* had been ^drawn into the- question of lewis !s sources because,'as- editor of 'Griliparzer' s :works, he had had to consider those of Die Ahnfrau; of.this play the Bleeding Nun, either directly or in­ directly, is an undoubted source. Other proposed borrowings from they Nun mostly involve the "thine-miheir .refrain. Theodor Kdrner either borrowed from The Monk/or used sources like lewis ’ s (whatever those

were), when he wrdte ih his "Wallhaide11: ' ■ : lieb Rudolfi bist meinI ■ Lieb Rudolf1 bin deinl^ f - : :Nieht Himmel und Holle .scheide ■ ;. 'I-Uns beidei f ' ■; ■'" -it'h- '■■■■t.v It is, however,' in. non-German, literature that the "mine-thine11 refrain

^Sugra, notes'38, 42. ■ ' ^ I t was an article , on Die Ahnfrau that had first called" Herzfeldfs . attention to Die blutende•Gestalt (supra, note 38). Sauer believed that The Monk had been a source of Grillparzer1s play, but via the. plagiarized ,: Blutende Gestalt. In Augusty- 1931, Gustave 0. Arlt.published"a claim that The Monk' directly was. a much • likelier source than Die blutende Gestalt for the spectral ancestress who. is mistaken for the:.heroine. I 11!' Source of Grillparzer1 s Ahnfrau.11 Modern Philology. XIIX. 91-100). His main reason was that.The Monk could have contributed to Die Ahnfrau what the other book could not, the themes of incest and parricide, and he found parallel pas sages with Lewis' s . Ambro sio-Antonia story, which does .1 . ’ hot figure in the Gernri/romance.' /; .Grillparzer1 s’ own testimdny was that , - - Die Ahnfrau resulted from the merging of two stories he had read, in one . of which a family ghost resembled the heroine and was mistaken for her . by the latter1 s lover (Franz Grillparzer, pp. 26-27). ■A misreading of Otto Ritter's German has caused an: error on : '. ' "Wallhaide11 and The Monk, by Alice Killen in Le Roman terrifiant, p. 21?, ' Bitter' s first Archiv article did not,. as she thinks,' discover- a source . for the Nun in "Wallhaide," for Korner was only three years old when' Lewis wrote The Monk. Ritter merely pointed out what. Johannes Bolte, the German folklorist, had pointed out to him: the similarity of the two : rhymes arid the fact that' both writers, had used a bloody specfre, ... , , / - / 22 , makes borrowings from The Monk .itself most likely, Walter Id'i'dLn. Peck, In his Appendices. to Kis Skelley., quotes' from Mrs; Dacre's Zo'floya what he considers a parallel ’’thon .art mine” passagfe. '• Shelley's,

• juvenile poem, ' "Ghasta, ” has verses similar to Lewis ' S i - Thou art mine and I.am thine . :- I : ; 'Till the sinking of the world, : , . _ l am thine'and thou art Mhe, . : ■ ' : ' . 'Till in ruin death is hurled— , ' • ■ and ' ' ' ■ . ; ' i'a :V : ': - : " ' ' / p '; ' ; '' ' For thou art mine, and 1 am thine, : ; . - 'Till the dreaded judgment day, I-am,thine,- and- thou art mine— y" ■ Hi^t Is past— 1 must awayl^ :

. ■: "4 toi, ma vie! / /h 'hymen nous lie ^ It pour jamais p” sang the , mezzo-soprano spectre in Gounod's La Nome Sanglante (produced in 1854)» Two acts of the Same ■ librettd, by the pdet-dramatist iugustin-Eugehe Scribe, occasioned the destroyed N o m e Sanglante score of Hector Berlioz. Whether there was - another version of the "thihe-mine'' verse .

• ' 4 9 — ■ 7 - : '.: ' .7 .7 :: . . . . 7 : .::7 ’ : ’ 7 , " The almost identical final catastrophes of The Monk and Zofloya have been remarked by Scarborough and Summers. CQ ; ' . - . - ■ - - . : The borrowing, here is hardly to be• disputed, considering Shelley1 s known enthusiasm for The Monk and Lewis ',s ballads, an en­ thusiasm at its: height when he wrote ''Ghasta."Revenge, ” the poem which precedes ''Ghasta” in 'Original Poetry by Victor and Oazire , reads like a synthesis of all of The Monk, including the "Alonzo” -ballad. Shelley's "original poetry" when he wrote as Victor was very much of it borrowed; the first stanza,of "Ghasta" had been lifted from Ghatterton, and the whole volume was suppressed soon after publication when it was discovered that "St. Edmond's' Eve" had been taken "from: the anonymous Tales of Terror (still sometimes, and even in 1810, 'apocryphally- at­ tributed to Lewis). li" . 'v ' '7, " . ' 7 7' ' ' 1 ' . See BeriioZ;'. Memoirs. trans. Rachel Holmes and Eleanor Holmes (Hew York, ■1932), pp. 451-54- The lyric is^■quoted.:lh^Fe■■rnahd■;^.;■:■■.■■■

.;Baldenspergerj.'i"'t5^ Moine de Lewis dans la litterature Prahcaise, " 7 . Journal of Comparative Literature. I (July-September. 19031; 215. " \ V . : ; - . ;23 in the Bonne San.glante at the Varietes: eould be a bit ■ of :research for a French investigator..; (England also, at about the same-time# had a ; ■ punning.parody, Raymond in Agonies, listed by Summers in his Gothic Bibliography as a "later Victorian pantomime.}l Raymond and Agnes was - an English opera^ produced' in 1855 and I859i’ hhe title was 'also that of a ballet and a play,) . '

As ■Charles^Hubeft .ffillevoye wrote in his' Eatire, des romans du

•lour (1803), : i' 1 - h i . ■ . V:"'; f Le croiras-tu? Le Koine et la Honne sanglante . ? . Font oublier Roland, Roger et .1' Bradamante^ : -t ' r Victor Hiago. appropriated Lewis's spectre nun, in Fernand Baldensperger1 s opinion, for his "Legends de la nonne11 (Odes et Ballades, ballade XIII £18283).;. This nun 's lover, is another phantom. A freezing femle t... , spectre, in: Emile Deseteaps‘ls "Noce d 'Elmance" (Mercure de France, ; . ' I'

January 3> 1818, p. 5) victimizes a widower but, instead of an "1 moi, V ■ ■ . ; • / ' - a toi" declaration, cries out,' ''Epouse-Moi1.11 .. %. v :-; The nib re interesting speculations concern influence rather than borrowings. The Nun's influence has been proposed for Coleridge more .than.for anyone else; in his review he called her tale, in Burkean language, "truly terrific." Some time before The Road to Xanadu. Alois Brandi and E. H. Coleridge had raised the question of how Coleridge's . . . , ■ \ . ;■ ' ■'" . 53 . : : . ' ' ' reading of Lewis had . contributed 'to his poems. ' Eino Railo suggested

. ^ riv'.: ; ’ Journal of Comparative Literature. X. 212.

% Chriatabel. (London,,' 1907), with notes by E. H. Coleridge; Alois. ' Brandi. Samuel Taylor Coleridge and the English Romantic School,,trans. Lady Eastlake- (London, 1887), pp. 202-3. :the,dependency of Christabel on motifs found in Gothic tales, ^ but Railo did ziot know- definite - Colerid.ge had -read The Monk before he wrote Chris tabel; he yas unaware of’Garland Qreeirer1 s discovery of a letter to Bowles which established that-Coleridge was the author of the' ; : :: • ' 55 ' ■ ' ' ' -1797 review of The Monk' in the1 Critical. Review. ; ; . '

lowes took ‘full advantage of Greever's discovery; however, he did not consider Ghristabel sources in his examination of Coleridge's read-: ' ings in The Road to Xanadu. Lowes is sure that an immediate seurce for - the Ancient Mariner's hypnotic eye;is-that'of Lewis 's Wandering Jew Who' lays the Bleeding Nun's ghost, and he thinks that the "burning cross"■ , on the forehead of Lewis's Jew may have'suggested Coleridge's "Instead : ' ■ - ' : : • > : , : : ' 56 , - of the cross, the Albatross / About my neck Was hung.11

r Lowes then argues-that Coleridge could not have recalled the . . .Wahderihg. Jew- f rdm LeWis without: recalling also the Bun; herself i she - hecame> he thinks, the "Hight-mare Life-in-Beath . . . who thicks man's blood with cold" even as Raymond's spectre froze the blood in his veins / - ' ‘ " - ' ; . ■ ' ' /Vf • 57 ' ' " ' , i ; ' ' ' ' for one hour on her regular nightly visits.. '

- After these, arguments by Lowes there remained for scholars the. un- , finished business of Ghristabel. Donald'- Tuttle, writing in PMLA in

1938, reverted, in search of a Ghristabel source. to the visits of_ the '.

^The Haunted Castle (London. 1927). p . 147. '— The' letter is printed in A Wiltshire Parson and His Friends, 1 PP. 29-31. • ' • . ■ 55 ' ' ■ The Road to Xanadu (Boston,■ 1 9 3 0 ) pp. 245, 252-53, 259. ' fj'w- 57 ' ' ' / : " ■ vi Ay:' - Ibid.. p. 279. , - y ;L. : ■ ' . ' ; . • $8 / ’ : v ':: V; ’ Bleeding Hun to Ra^miond. During the hour that Ba^miond1 s blood was • frozen, he and the Nun would remain yis-a-vis, he paralyzed, unable to ; look away from her rattlesnake eyes. Tuttle agreed with E„ H. Coleridge, who had already suggested that Geraldine 1s snake;eyes were., - ' : 1 59 "tv ' ■' , : - v'v' '', derived from the Hun's, and he found that-, with Raymond, corresponding

to Christabel and the Nun to Geraldine, the entire aetions in the room of Raymond and the room of Dhristabel— lasting an hour in each case— run ' a close parallel. Arthur Hethe root a year, later^ though1 disputing many of Tuttle's conclusions, agreed on a significant parallel between the scene in Raymond'.s chamber and that in. Chris tabel is. It is the Hun's actions that are recreated in Christabel,:not her character,. for she;scarcely has one, Tuttle and Nethercot agree on one v other major point— that;the■character of.Lewis1s .Matilda lives again in Geraldine. B. H. Coleridge and Railo had previously come to that con- ' . . ■ .61. . i: . '1. .V1' - V • elusion on Matilda. :. . In his, mainly unfavorable ^ re Vi ew,' Samuel Taylor Coleridge had singled out Matilda for his ■highest admiration: ''The character of■Matilda . . ; appears to us to be the author rs masterpiece. . It is. Indeed, '.exquisitely imagined, . . ,11

'•’^"Chid.stabel Sources in Percy ! s Reliques and the .Gothic Romance,n - W A , . ■ m i , . 468170. V': ' / ' : 6 ;;vl : ' V. .Vv . " 1 :'l . y ; ; . . "v-.- ■; -^C hristabel. vo. 92. ; ,■• v , . ;

The Road to Tryermaine (Chicago, 1939), P. 194. ' '

■ • ^^""Christabel Sources, pp. 466-68; The Road to Trvermaine. p. 194 , and note 17, pp. 194 ffj ’ Christabel, p. 70; The:Haunted -Castle,'pp.. 262-63. Tuttle thinks' Geraldine a compound of Antonia, Virginia, and Matilda in The Monk, but with only Matilda supplying her character and the other two such conventional.'' details as a dazzling whiteness of the; neOk.. : ■ it is clear that the actions bf :the Bleeding' Mm and' the- character-' of Matilda have been transformed, through ;Gbieridge 1 s creative powers, - . into the magical Geraldine, But in contrast to the Mun, where concrete: .details— her eyes, her power to freeae blood,■ and her . rhyme— afford al­ most certain evidence of later borromng, .the reappearance of' Matilda is a matter of' specuiatiohi As a demonstration of the vaguer possibilities of influence from The Monk< such: speculations., on ..Matilda's . later career can profitably be made in this paper, ilSoreover,. since Ifetilda's character, involves old concepts of/evil, and not concrete details, - pro •“ posals on her. origin Will also be necessarily vague, Matilda has attracted little scholarly attention— at least com­ pared to' the'Mun. However, she -has not escaped a plagiarism dispute, it was one 'over alleged 'word-for-word borrowing, yet Matilda could not ' - have caused it had not her roots been deep in folklore.

' A, succuba type had been lightly, aimost humorously treated in a ; h

novel by laccjues. Cazotte, lb Diable amoureuoc, ■ first -translated' into-

English iri'1793- When the Monthly Review listed alleged' sources of The lfonkv 'it Ihnluded dazOtte rs novel, remarking, "The- form of tempta- ., tion. is borrowed from that of The Devil in. Love." The form of tempta- ; tion, of course, is what one might expect of any succuba. Lewis took

notice of the charge and in 1801 denied; that he had read Cazotte until - The Monk was being printed. But in 1810 there appeared.mionymonsly a

second English translation of Le Dlable under the title Biohdetta or the Enamoured Spirit; it was "dedicated without permission, to G. ,

^%delmorh, the Outlaw (London. 1801), p. vii. Lewis. Esq. ^ The dedication,went on to imply that Lewis had plagiarised Matilda from the Cazotte heroine, Biondetta. Presumably to clinch the. charge, of plagiarism, 'the translator' had inserted.;at' least one line from The Monk into his text. - There it remained, for more than a .hundred, years, uhtil it. became a schqlar's -find.- ': 1 , ' - ' Meanwhile- the Monthly Review1 s opinion, was repeated: (Archly, 1903) by Ritter,, whose method was’to follow up on- all the indebtedness charged by the Monthly Review— indebtedness to; Smollett, Veit Weber, Burger,

Gazette, and Radcliffe. Alice. Killen echoed Ritter and the Reyiew in I923 andi emphasizing French .Sources, snid that-ife.tilda .had traits 64 ' - ' - - borrowed from Biondetta. • it was Railo who found the planted passage, in 1927, and he ebnSidered it:-p)roof enough of borrowing. Mario: Praz : agreed, as did Baker, in his History of the English Novel. citing Praz as authority. - : .... ' u;:' : ; ^ ■' ’- " I ' ’ ' Thus the ..origins, of Matilda i n . folklore made possible a plagiarism: hoax that was, in time, successful. Except that Matilda and Biondetta ■ are.' succubae, there, is little similarity between them or. between the' . : : '■ ' ,• I h ' V ■ 66 books in which they appear, as even those • taken in by. the hoax admit.

63 ' ., : - ; - ; : , - ' , - The dress of -■ both, demons, Matilda and Biondetta, had become Sirilarly :dis.arranged'';:(Bioudetta1 s for the first time in the second ■ ■, - English translation). The line then copied out Of Lex-d-S appears on page 87 of. the Grove .edition of The Monks. "The , moon-beams darting full upon - - it Cantecedent "bosom" ’in,eadh casej enabled the monk C'me" in Biondetta^. to obserye its dazzling whiteness." .; ’ -. t 64 ' - ' ' ■ . ' ; ' ...... , ’ .; '’ : Le Roma,h terrifiant . p. - 50. .. ■ ; . ^The Haunted Castle, p. 261; Praz, The Romantic Agony (London, 1933),. p. 192; Baker,:-V, 20%. : . . - ’ ^ , / ; - ..; .. 1 ^ : • of-. ■■ ' - '' ' ' : ' ;;; ' . Railo, loc. cit., and' Praz. 'loc.-: cit.; cf. The- Gothic Quest. ' pp. 224-25o - , . . ■■ \ . ■ ■ ■' : . -::: - aY' : . ' ; -A ; ' ■ 28 Peck, too, in his Harvard doctoral, the si a argued that The Monk and '" A : : 5 - - /' A A'.x' ^ ; ;-vV-v ,... .. 57 Le Diable were too unlike for one to have been a source of the other.

Then he used Sauer's method "with :Die biutende ■.Gestait^^-r^that of con- ; - sidering in his comparisons not only texts but dates. B y .examining the original French and English versibns'of Le Diable amoureux, he exposed ' .-■V - , . . - . - 69 ,“the anonymous satirist^S;unspp trick." , • Only Summers indicated— and only in a., passing remark— that what , • .Matilda and Biondetta had., in common was their status, in. .■folklb re. There has.been, little consideration of the true forerunners of Matilda (perhaps because one. cannot, in:their cases,•argue over.plagiarism).

The perpetrators of black, magic are generally witches, and in Bngland . and on the Contirient witches are almost always female. -. Both .Wimberly . ’-and Kittredge stress the. remoteness of the' origins of witchcraft and how little deviation there is in the belief in tiitches, • no matter where i A.: ■A ; . •’ •; ' ■ : 72 . ' ■ ' found or how primitive or civilized the believers.

Matilda 's magic ’chemistry and her: league with, the . Devil seem com- .. paratively •civilized, but even the most primitive. vdLtches may use props ,

Harvard University,, Graduate School of Arts and Sciences, ” Summaries of -Theses 1939 (Gambridge, 1942) , p. 244, ■ ^%upra„ note 38. . ' . . : ^^"The Monk and Be Diable Amoureuk, "• Modem; Language Motes, LLVIIL (June, 1953); 408. - ' :• • / , . V ' , 70 ■■ - ' ’ ■ ■ ' ■:i;' 1- - ’ : L • ■ . . ' , : .. . . . The Gothic Quest, p. 225. i : ^^Folklore in English and Scottish Ballads, p. 204- \ . ’ • ; ' ^Ib i d , , pp. 203-4; Witchcraft in Old and Mew Bnglaiid, pp. 5^ 9, and be in cahoots "with , bad spirits „ Matilda '.s league -with the D'dvil and - her mission to seduce' the most upright of men are motifs common in folk­ lore; they combine to make her a demon who appears in the most primitive . as well as the most sophisticated'folk tales:- the succuba. The incubus or succuba, as Kittredge^ points- out-, has 'commbnly accounted for the an- ' ' • ' ■■■ - . ' ' . •' • ; V : ■ .V' : : : 73' '■ ' restry:of folk heroes? folk villains, and whole races. Witches— lamias, vampires, succubae, and;Medea-types generally— afe often, es- ' pecially when: beautifuly endowed with some hnman sentimentsy they are ' ■ v:;' ■ .'sL : : ; 74 n -:' , often capable of love for the mortals they victimise.; . Matilda, per­ haps through the. carelessness,of Lewis, is at first a woman in love, at the end a pure demon.. ‘ ; :r ' ■ ' : . . V ; . The femme fatale who is a tool of evil will reappear, apparently, ,

as long as there are men, women, and books. : Homen are by nature , evil, . ■ V ' Vi V' ■ ' " v' :'; V ■' '-vii''- '' : 75 according to a tenacious belief that antedates the Garden of Bdeh.,

As Wimberly says-,, speaking of his linuted fieldy Hln English and, ■; Scottish folksong the practitioners of the malefic art are■women, al~ ' V,i. .'I ; ' l 76 1 • : V : ■ : • ■■ ' ' lir 1 V: .ri; < most without exception.t!' . . ' . 1 1

1: Witchcraft in Old.: and'New England. p. 116. . 1- " 74 : ' : v" : I- ■ ' r I'";!": ' :■/ - " ; -/v ; ' - Dorothy Scarborough, The Supernatural in Modem English Fiction (New York, 1917), pp. 153, 157, 158. 1 •V ' rV - : : -•

^%ime in a book review of August. 27, 1956 (XMXlXt'9, p. 78), meets ■ : again, in a new novel,1 ” the: beautiful,. slightly mysterious * woman, with a past1 who appears, unannounced, amid the pastel parasols of,a.fashionable resort,; bringing with her a whiff of;evil— that exquisite - cliche'beloved ; by ttim-of-the-century authors. . . .11 Railo (p. 263) considers Miltonfs:: Sin as an ancestress of personified evil and so of Geraldine. Insofar ■ as Sin 'illustrates the femininity of evil, she does have: a, great progeny^ See also Sir James Frazer, The Golden Bough. 1 vol. abridged edition (New. York, 1922), pp. 207-10,. #3-7. • - V;V::.: ' : , .:-V' :/;V ' : : : ' Folklore in the English and Scottish .Ballads, p. 204. , ' There would be Matildas in literature even if le'wis had never written his version of'the succuba. Nevertheless.' he. did create his own Matilda, and in the case of Geraldine the inheritance .is:'undisputed. The ladi?'of the castle-:ln The Lay of the Last Minstrel is another ,

Matilda-like character^ and Scott's indebtedness to Ghristabel in this ./ - : ,V v";. ..; . . . : . : ■■■' - - ' ' o? poem was the cause . of . comment pmong#he friends of- Coleridge and Scott, ■ Praz traces'Matilda via Chateaubriand's "Valleda (Les Martyrs) to Flaubert1 s SalammboBe thinks she has a direct connection with Sue 's Cecily (Myst&res de Paris) and a more tenuous one with, Merimee 1 s Carmen,

(ifetilda. and Ambrosio %ere parodied in Merimee' s play line Femme est un • : diable.) Railo finds Matilda, reappearing.as Miriam in Hawthorne 1s . 79 ■ : ■ " - ' 1 ■ Marble Faun. ■ .: 1 Matilda has undoubtedly been revived in more recent literature, .One can argue her presence whenever a-witch woman, literal or figurative, appears'in a book, for some reinforcement of the succuba concept must have occurred through a romance as popular as The Monk, " This is, not to say that even without Lewis's Matilda we would not have twentieth cen­ tury .-Dragon Ladies in our comic strips^ for if Lewis atad; his followers. . ; had not, lived, others .Would _still have made their'own Matildas, based on the same, antecedents that Lewis, knowingly or not, made use of,

: ' Southey, Life add; Correspondencep. 1871 The Selected Letters of Lord Byron, ed. Jacques Barzup (New York, 1953), pp. 84-86; ' - Unpublished Letters of.Samuel Taylor Coleridge, ed. Earl Leslie Griggs (London, 1932),'I, 350, II, 61-67, 146-48.

^Tfae Romantic Agony, pp. 191-99. i ' ' . ' : ■' ■ ' ?iThe Haunted' Castle, p. 266.. .■ :;v; - : : ,v :' ' ; : ■ ; : ' ;■ " ;::;r ' V ^ ^: Y ,;' ' \ ' ' 31 - The; immediate aheestressdf.Matilda cot0.d-have beea.Carathis-in Vathek. lh; her magic, skills and magic props she' resembles the cabba­ listic Matilda. In her intent— the seduction, of .a mortal—-Matilda most resembles Allison Gross (Child 35).'among' ballad x-ifitches. There aie plenty of antecedents; for her as either demon or womans -Alphabet 129 is , the story of.the Devil as .a woman seducing a monk; in Alphabet 1^7 the Devil lies, in the likeness -of a w o m n ?' .with a scholarp .and Alphabet , . 601 further suggests Matilda with its account' of the girl .who disguised ' ' ' ' : " - , 8 0 '■ - d. herself' as a monk (and became a pregnant pope).- A number of.motifs

listed in Chapter III suggest possible•specific antecedents of Matilda ■ and what Wimberly calls ''the' traditional Compact of witch with devil.11 ~

Kittredge devotes pages 115 to 123 of his Witchcraft in Old and Mew England to a discussion.of the universality of the belief in incubus

and succuoa. - .. . \ . ;, ;.y The details of Matilda's story are based on recurrent and wide­ spread folklore motifs.- Ambrosio falls in love with Matilda's picture before he has seen her. This power in, an image of exciting love goes . back in European culture at least to the Pygmalion story.. . It is a feature of one version of"Tristram,. and - it turns up, according to the .

^ An Alphabet of Tales. Early English Text Society, nos. 126-2? (London, 1904-05), ed, Mary Macleod Banks. : • Folklore in English and Scottish' Ballads, p. 357; cf. Scarborough, p. 158. , . - . ., ; 5 . ; ' ; ■ : : ^See also,Tylor, Primitive Culture, II, 190-91, for data on the medieval crime of being an, incubus or succuba. • . . . ^John Edwin Wells, A Manual of the Writings in Middle English. 1050-1400 - (New Haven,'Conn., l9l6), no. 48- y ■ Motif Index, J.n tales from Germs-ny, Jndia, Ghina, Engl and 5 Frajac e. ' : Arabia, and. Indonesia, Railo thinks this same potency of' the portrait ■ was transferred from Lenis to. Poe 'when he. wrote "The Oval Portrait" and ■ to Rossetti when he wrote' Hand and Soul, St. Agnes of Intercession, and "The Portrait.11 ^ , ■ ■' ’ • ' • . , - Matilda's magic circlej' with which 'she protects- herself in summon­ ing the Devil, is old in balladry, according.to,Wimberly’s discussion of "The Magic Circle" (pp. 362-67).' The circle as a protection■from-the ■ . -A;-- 8 5 ■ : ■ ; f . . : . Devil appears in Tale Types 815 and 810. .. Coleridge - had,', we' know, read of Matilda's circle magic and he probably had read of other magic . circles when he wrote in."Kubla Khan" ' r . ' h . - Weave a circle round him thrice - And shut your eyes -in holy, dread . . 6 - The same magic mirror by which Matilda shows Ambrosio the; yirginal Antonia .in her bath had been employed, though unerotically, in a tale ' .v. ; 86 ' t .'6 .. h ' ''vt',■ ; _ ., v, of the Cape Verde Islands. The same mirror was useful in Greene 1s Friar Bacon and Friar Bungay. Kittredge :has a .note over most of a . page ■ ' ' . - ' ^ : - . -' , . V : ' 8? . ; listing appearances of this magic clairvoyant mirror, and the - Motif . Index lists tales from Germany, France, Japan-, China,Africa,: and Aztec

The Haunted Castle. pp. 305-6. ,, •

^^A.. A. A a m e and Stith Thompson," The .Types ;of the Folk-Tale, Folklore Fellows .Communications no. 74 (Helsinki-, 1928). '- 86 . . - ; :;':v ; - • -- . Elsie Clews Parsons, Folk-Lore from the Cape Verde"Islands (Cambridge, : Has s., and New York, 1,923’), Memoirs of the American Folk? Lore Society, ST (I) no. 39, pp. 110-13, -/r v

^Witchcraft in Old- and Mew England, p. , 503. . Mexico which include such a mirror^ ' Likewise the silyer myhtie hha't (courtesy of Matilda) transports Ambrosio to Antonia1s chamber was 'the

golden bough of the Aeneid (Book VI) # which lent its name to Frazer 's Golden Bough. ’ v ; . Matilda's summonings of the Devil and her arrangements with him,. bartering her own soul and Ambrosio's, are. of course; variations of the Faust story. Besides the branch and the mirror, Matilda accommo­ date s Ambrosio with a sleeping draught for Antonia, which, by creating the semblance of death, will enable him to join her in the catacombs. This is the draught of Borneo and Juliet and of Vathek. (Fu Manchu nowadays gets the same results with a hypodermic syringe„) ■ In a medieval Italian ballad and romance analogous to "Broomfield Hill" - - ' ' ’ ■ ' ", : 1' ; . - . ■ x • gg . ■ : ; .: ' i : ' (Child 43), a magic sleep was induced by a draught, while the meeting, of the lovers arranged.through feigned death was the theme of "The Gay .

Goshawk" (Child 96). , Matilda's antecedents are formidable and so is.she; her position, ' entrenched as she is in popular 'concepts, seems unassailable, Her vi- ; tality cannot be doubted when one observes the host of her descendants,

collateral or direct. In the nineteenth and twentieth centuries these

descendants have had a:curious■and uncertain evolution, : Between 1796 and 1956. Matilda has been a compound of varying amounts of evil and

supernaturalism. ^ " ■■ ■ ■ - To make a beautiful woman a thing of innate evil is still .

^^rancis James Child, The English and Scottish. Pbpular" Ballads (Boston and New Tork,. 1883-9S),; 1,; 392, 393. ; praet-iced. soine wriiersy chiefly Wdberd for pulp :magazlnes 1 Vfbr its ' value'of paradomeal shpek. : For the readers of pulp magazines, as for . the readers of Coleridge, imate evil is'a conception, allied to the con- , ceptipn of the supernatural,, and the two .exert a- .siHdlarifascination». Matilda was a demon. In their evolution her'nineteenth-century _.

' descehdahts were' less positive what they were, but the. tempered'.a,ura of '

the supernatural lingered about :th@^ %fgeniev, ninety-two years ago, raised an unanswered question about. his femme fatale in Whantoms": was ■ she a vampire"?' Was she, that is, supernatural? Gautier also, in "La .Mbrte amoureuse" (1836), implied vamoirism.1 I^wthorne did not raise • but.suggested questions about'his heroine, Miriam, • in his^ mid-century' . Il%rble'Fauns was she a Wandering - Jewess? was she a tool; of some super--;■ .natural evil? ■ ' ' ' • ./ - . ihese hints at;,a supernatural connectibh. for the femmes fatales •:

are no longer artistically satisfying,' no ..more - than, an- assertion of ' their supernaturalism, would be. The present-day;Bragon Sadies some­ times employ science-fiction. magicy but such modern- Matildas are. pretty- much confined to comic books- and movie serials, toe nebulous super- naturalism of The Marble Faun has not much status, how,-- in writing that

aims, to be literature: even the Death Takes: a Holiday phantasies are

presently out of vogue. If one disregards -parodies, like Charles ' ■ Addams1 .Vampira^ it appears that Matilda 's upper, middle plass'descend­ ant s must;have undergone a 'twentieth-century sea change, if not into something richer and Strahger, then, into: something- acceptable' to the

culturally sophisticated. ' : ' ; - . . - • In the middle of- the 1 tywentieth: eentuxy beautlfxii wiien are. no longer literally devils. (They are sometimes angelsy if a writer.is attempting phantasy^) ■ The 'delightf ul shook of; recognizing " evil ' in'a; ; • fair heroine no longer exists^^or: at; best; .find, it: in a trick ending, to a mystery story,where the ingenue potential victim was the murderer ■all along. Or is there one uncustomary circumstance in which we still enjoyably realize: that a heroine is,evil? Our-recognition,; sudden or■ gradual, of;the innate evil:of a personable female— that is the sign by- . which we shall know Matilda, and’ pot. by- hny literal black magic.,, ''h:- There is a •shifting' balance between evil and mere spookiness that . confuses the problem of identifying.Matilda. Yet the' recognition of personified evil and' the'recdgttition'pf the Supernatural are closely ' alliedj in either ca.se, the reader, performs an a,ct of faith in acceptihg them.. Supernaturalism is not: much'.in favor now,, at least as allied '

with sin, and therefore we'should lookyfor Matilda1s descehdants nowa­ days to represent unalloyed evil. But back in the nineteenth-century ; supernaturalism was dominant enough to dilute evil considerably, as it

did in Hawthome; and 'Poe. In Poe1 s. story:' "Morelia," for instance,' the evil Is absorbed in spookiness and manifests itself only in the hus­ band's vague abhorrence of his. wife. .1, "Morelia"' may have a significant strategic■ spot in the evolutioh

Of Matilda.' In' this story death and parturition mysteriously coincide j. the wife is, on her shadowy deathbed, replaced by a newborn: daughter.

. The- child1 s;..growth; inspires fear, being obscurely supernatural. /The .. . child foreshadows what,.in this century, is a possible mutation.of the/

Matilda-type. ' .; - , ' ' 1 :: ' y . :. ■ : Adults are afraid of children, ;whd,:. trailing clouds of glory, are obviously closer to the otherworld and-may be changelings or. offspring of incubi. Children with their incomprehensible motivation .are not human, as adults know. In’literature, the .ounce, of credence necessary before the reader can be aghast at personified evil is possible nowadays if the subject is a childV Very 'recently, there is the daughter in, Bonjour Tristesse, who seems, the instrument of :a :fated malignancy, and , there, is Rhoda in The Bad Seed. This sweet little girl was b o m bad; one fears her precocity as one does the younger Morelia's. This play and novel, anticipated by The Children1 s : Hour,. -■ has no theme except that ' innate evil exists in a Small girl, and it uses Gothic' effects in its circumstances of murdering grandmother, eerie farmhouse by moonlight, and foundling parent.. ' . 1 : ; - . r Whether or not fiatilda. is now in a second childhood, she: has still a robust adult life on the fringes of. literature, in. the comics that are sources of new folklore. Because different strata of'literature . interact upon each other, and, because Matilda has been with us as long;■ as there have been heterosexual demons, her future should be secure. But she has now lived on long enough 'past "Monk" Lewis for her con- - '. .

, nections with his Matilda to..;become tenuous. - " /■ . GHiPffiR III.

The Story of The Monks a Charting of Its Motifs

The . kind of . detailed, discussion of l%tilda provided in Chapter II might now be •resumed, for.other personhages; :: Ambrosio could be con- . sidered as a type of the rascal1 mnk, or Faust;, or .villain~hero „- • The persecuted maidens, Wandering Jew, forest robbers, and benevolent maternal revenant need attention also» Like Matilda, these’ characters . all have lite rary ante cedents and literary progeny. 'And their roots / are also deep in folklore. But instead of .discussing this folklore, . the tables that follow summarize its impregnation of all of:The Monk -and show its transmission,’ via The Monk, ■ into later works. ■ ■ The events, characters,, and paraphernalia that Lewis put into The • Monk have their position in an older folklore. Each item listed in

these tables has its prevalence in folklore indicated, sometimes in the second or. ’’Sources11 column- but, always in 'the third column, which refers to Stlth Thompson's Motif Index. Here motifs from the Index ''analogous to those in The Monk' are allowed to speak for .themselves.' ; I .

Column I lists events in The Monk. (There are■two'tables because there are two plots.) Cdlumn 11 is-sources and antecedents3 these are mainly literary, but when, a theme or '"feeling" is. so prevalent that it

is common property, citations are given to works on folklore or anthro­ pology. References are incomplete but give enough information to point to complete, data in the Bibliography. In Column' II all immediate literary source s are mrked .mth an/ asterisk, when it is certain, or virtually certain, that lewis nsed them. (The evidence: is often lewis's letters to' his mother.) In the same way5 in Column 17- \an asterisk precedes eT.ery. highly probable hit of direct borrowing out .from The Monk.. • ; The ballads are excluded from the,'plot summaries in these tables. Also, there is no column to- show, returns into folklore Comparable to those into literature. But Chapter 7 will investigate the return into ' folklore of one ballad,' "Alonzo,11 '• : ■ i = TABLE I

Aintoosio-Anton'ia 40

; V :: ; v' ■ ■ :% ; ' .•; : ; . v Aiiforosio Intonia . ' ' ;r" ' '' t't ;:G \ ' GLimRkEI'. BOHEOWINGS ' ; . - • Tffi H S K :-' ' - - v/ f.- ., ANIEGBD#30 ! • " .-G : . ■,MOTIF INDEX.. ' G " :G' G - - ;G.:. GG^G'GiED 'AimGG®

Ambros'io a fomdling. on the ■ • Foundlings old. in literary tradition L 111.2. Foundling hero.' • - PJioda's mother in The- Bad Seed. monastery steps.; • ''>: ''' . ('s.pecial interest^ Oedipus).

imbrqsio.j beoome-an.Austere His character from—r / ' ; ' | Q 552.1.1. Lightning strikes mdhk'G Ambrosio reappears as-- • .. abbot, shows already the sin . . ■ " Mphfes .of Gramer (eighteehth-cehtury ! who despises humility; V 465. . *Schedoni in The Italian (Radeliffe)-. . . of pride. .; ' . v" : German fiction). , " • . , " G ' ' . | Clerical vices; J 1263. Repartee. ^Claude Frollo in Motre-Daiae de Paris ■ *Montoni in The Mysteries of Udoluho | concerning clerical abuses; C 770. (Hugo). " : (Radoliffe). ' • .' ' V: GG^ • G 1 Tabu: overweenihg pride. - I Biiah de Bois-Guilbert in Ivahhoe. ^Laurent in Les Victimes oloatrees G; 1 " • ■■■■■ (Scott). ' G. ,.; ■■■■■ : ; , - ' -(MonVel). " ' v *Medardus in Die~ Elixie re .de s.Teufels G ■ Konks in the Heptameron (Marguerite . : ) J (Hoffmann).' "• . G ■v .g /'G.-Gg G. - G.G; ( • of Navarre), especially .bn-3hd ; f Magnus inGLelia (Georges Sand).; •GG t ; ' day. . ' ; . : ■ ' : G :' | Rupert in iLandor’s, trilogy: . ; ..G p . • ■ ■ • , . G Gi • . • V For Ambrosio1 s status in the evolution Andrea of •• Hungary, Giovanni of Naples, of the villain-hero typeG. (rather. G; V Fra Rupert. . • "■ ; ' G than the rascal-monk)'. see Clara F. : Verezzi in Zastrozzi (Shelley). . G ■ : McIntyre, • "The. Later'Gaheer . of the Elizabethan Villain-Hero," B M , IL (1925), 874-80. . • ■

! .

t

He. is. in love with the / ' : . *Der Gelsterseher (Schiller). . ; ' T 11.2. Love through sight of r *La Tentation de Sainte. Antoine - Madonna in a portrait and \ - Tristram (Wells1 I^fenual -no &. 48). ■ _ ' |r. picture; : D 1620.' Magic automata. (Flaubert). ■ ,' ' dreams that the picture . G i ’ f Pygmalion. : , -t-'G .G-GG' G ■ ■.Statues or images that act as if "The Oval Portrait" (Poe). •. comes alive. The portrait in The Castle of Otranto ' alive; T 376. Joung man be- Hand and Soul. St. Agnes of Intercession. • (Walpole) is an.animated being, so I'trothbd.to'statue. • ’ G ' "The Pdrtrait" (Rossetti).,' v " ' • suggesting the theme of mysterious . Melmoth. . the Wanderer (Maturin). ■; ■ ■ " : „G . G'"'GG'1' ^ ;G power in a picture. G : 'I'V The Picture of Dorian Gray (jfelde).■ -' ' ; •GrG - G t ' . ■ ' F.athek, "Story of Prince Alasi" " '''Die Elipciere 'des Teufels. ■ :"G; G G " •GGG: v-G . G -G:. :.. G' . G ;G : (Beckford). - : . . G:. ■ G' ' 41 SiE I Continued

SOURCES M®. LrTEMRI BOHROWINGS THE MQHK ANTECEDENTS, MOTIF INDEX . : AND ANALOGUES '

He discovers-the original of . Hep tame ron, 4th Day, falelOZl,,; i; , y K1826.1. Disguise as monk; D ll. ^Penny-dreadful type of pirated reprints the portrait is'a,young woman Disguise of Firouzkah as a boy | ’ Transformation, man to woman3 Of The MOnk; e. g., Rosario. or the. (Matilda) who,, for love .of (Vathek)^ : T 331.3. Woman masks as man to• de~. Female Monk. Him, lives in the monastery. Alphabet 601. ■ , - /■> I . ,celve;.anchorite 1 Q 537*1. Adulter-- ■disguised /as, a .novice ess masks as monk and lives chastely (Rosario), , ■ f in a monastery; K 196I.2.I.' Woman 1 'in disguise hecomes pope. ■ '.

He is seduced, by Fktllda. ind- ■ : '^Santon Barsisa” ■ in The Guardian ^ :J 485-. Three Sins Of the hermit Epidemic of rascal monks in penny dread­ thereafter lives to .satisfy his, no/ 148,. August 31, 1713 (Levd.s1 !f .(Tale: Type S39)i ^ 465.1.1. , fuls. passions. 1 • :: : avowed source for .the book). ■ . Incontinent monk; J 1264. Repartee Dictionnaire des romans. (by Ducray- ■" -i-Les Victimes cloftrees., t . ;concerning clerical incontinence; Duminil, 1B19) lists a great nuinber . . ■ ' • " . / ■ . ' a^morous monks of Cramer; those in' . T 330. Anchorites under temptation; of “faux ermites renegats ou molnes .. the Heptameron. ■ ■;. ■ '■ •D 1901. hitches induce love; T 337. incesteux" in contemporaneous French . . ' '' / hes Intrigues monastlques'(anonl; ' ' Woman wagers that she- can seduce fiction, . ' If : The ;Hague>; 1739)1-; .//f f ; -vVf' ■ , anchorite; T 336.', Sight or touch of The Italian. ..■ '-. I c 'I- ' 'Heptameron, Bbh Day', Tale .: I woman as source of sin. -'-Die Ellxiere des Teufels...... ' • ...• ‘ .'' -Seduction-of . Alasl byrFiTOuzkah Schemoli in The Fatal Revenge and : ■ (Vathek). ' If Iff-, - ■V""',"' Morosini in The Milesian Chief (Maturin) La Faute de 1 %bbe Mouret (Zola). Le Scorpion (Prevost), Ivahhoe and Motre-Dame de Paris. An Italian scholar has traced the effect of Ambrosio on French literature inso­ far as the transmission occurred through Ivanhoe; G. Sortone, Fra il Voto e 1'Amore; note critiche sul Monaco del Lewis, sul Templaro dello Scott, sull1 Arcidiacono dell1 Hugo, sull1 Abate dello Zola, sullo • Scorpions del Provost (Naples, 1908). He repeats. Baidensperger’s ideas on influence but emphasizes Scott as intermediary. The double character of Ambrosio sug­ gests that of Gardillac in Hoffmann's Das Fr&ulein von Scudery, the priest in Gautier's “La Mbrte amoureuse,“ and Jekyll and Hyde. Seduction of Verezzi by Matilda in Shelley's Zastrozzi. . ' 42 [| Continued ' : : ' ; . ' . : : '/■ • SOUEGES ,M1D .■: ■ . EITERABT BORROWINGS:

' t h e KOEK : v . , :fflTEGEDEHT-3 i i ) T g ifiDEX :; - - ' ■:. ■,' ■ ' A# mALOGDBS ■

Matilda, poisoned, snmmons . ■ • Faust versions. ; 3 .-6,.i.:2r: Deyil:-comes when ■ ,'Helmoth. the Wanderer. '■ ■ Lucifer to save her life. . ;: • ' v : ‘ ' ' called upon; - G 303.6.3.1« — Earthquake, thunder, coluim ; ’L': .' V:'i. • .: '/ • Devil is followed by a thunder- of light. .(On the Devil's lat- ' • • 'storm; G 303.6.3.4. Devil ap­ er appearance, at the.end of h ^ ’ pears in an intense'; light ^and ■ fhe Monk, lie'is. Hoarse from . : "1 , ' with strong odor : of • sulphur.. :: breathing his o>m. sulphur fumes. ) . : : /' -1 v

The Honk haying grow tired';of ;. . ^ Incest an old literary and -folk themej N 365. Incest unvfittingly : "Moines'incesteux" in Dictionnaire des - Matilda, she ' undertake s. i-td,; help 'especially- inadvertent incest. E.g.:, ■ committed; T 471. Brother— ■ romans.:, v - , . . q/ v , him seduce Antonia (who ms ■ -i , ’■ Oedipus ^ Heptameron. 4th Day, -Tale v ■ sister Incest;. T 471=1. Man tie Moine incesteux (Ploert). .: ‘ ; ■actually his sister). ■ XXXIII (hypocritical mqnk gets his . unwittingly ravishes his own- Shelley's Laon and Cythna. The Cenci. . ' ’ ' : ■ • ' ■ ' ' sister pi-egnint^t Elilleiyo^group; i n : : sister; ‘ H 363.3-.: Unwittihg I Alas tor, '"Epipsychidlon."' ■ •' • ■ . : Kalevala; Phaedra; Pericles, Prince brother-sister:incest. IByron's Bride of Abydos, Manfred. . . ' ■ " ' - of Tyre; Ford's 'Tis Fitv She's a Praz thinks the nqn-incestuous'love - of \ -/i: ' - - ■'' : I ~ - 1 Bois-Guilbert for Rebecca was'inspired . ■■-1 'v ri ' : La one Version of;‘Three Sins of the t ■ ' by Aibroslo's for Antonia. ’• ■ ■ ' Hermit (in Wickfam's Eollwagen-' :In-Die Elixiere des Teufels, without the . •- ■- ' . buchl'ein), instead\bf adultery, in- \ incest motif,' Medardus, .Eupheiiia, and ■ •• cest with- sister is secohd ,sin. - ' -: . Aurelia-correspond,-respectively to Am- . V • . Heptameron 3rd Dav. Tale XKX. ■ ) broslo■Matilda; and Antonia (Georg -■ " . .i" > . . . ' :,;v: v(Horace. Walpole had heard this one--a ■ Eilineer.' E. T. A:, Hbffmann. Sein ' ' " " ■- ■ .1 ■ ' Lomplicated.lncest, .stpry^-as a trne ; Leben und seine'We-rke [I892p). .i. , ■ • - . ’ , ' tale about ah English' family [Railo, ■ Julia in Zastrozzi corresponds to ; : .: - - p. 2703.). . • ' ':V ;Antdnia. :' :v -V- i 1'-1'-; : % '

She shows him Antonia through 1 / ■. .The Honorable History of Friar Bacon ' r D 1323.1. Magic, clairvoyant,mirror; a magic mirror, . .. : ;... .q: ; ' V •: . .and Friar .Bungay (Greene).. . ‘ ... D 182-5.2. Magih :'power to see - dis- . ' See-'Eittredge1 s summary of written magic tant'..objects; D 812.3. Magic ob- - .... 1 , . V - mirror lore, p. 503 of Witchcraft. ; ■ je.ct received from Devil. '. ' / -,

Geraldine's-disrobing scene i n Ghristabel. ,. , - -• •43' ’TABLE Continued

SOUSOES AM) LITERARY BORROWINGS mTEGEDEETS- 7 7 7.';.74TgTd41MX7 - ", 7' 7.. 7 .7:7 : MID ANALOGUES •lyjatilda .iBakes a coapact, ,,;'. . ' . . Faust versions„ . G 3Q3« 6.1-; 2. Devil comes when 7 Melmoth. I. : :' ■ ' 1-. • 7 ‘ ; ' : Mtb'Liieiferi'W^ v i • : Alphabet. 64. : ‘ ; called upon; ; C lCil. , Devil ': 7: 7'/v :n; • ' League. of ’ Devil with humans in "Young • ■ again summons, to -aid ; /■ ; ■ For the traditional odmpaot of ,.. ‘called on; for: ;Selp;: ,M 210. Bar­ Goodman BroWn." (Haxvbhorne) 5 • itoibrosio in the conquest of i witch vd.th devil, see • • gain : -fith'Devill. ;;M 217.' Devil . ' : 77: Feetus" (Dailey). , ; ’ " ; ,7 : 7 : Antonia. ' 'v' ' ' " V Kittredge (Witchcraft)., . bargains to help); 11^. win woman; :. .; . PP. 239-75. : C- 303.22. The Devil helps people;' % 7- '' •'Heptameron. 8th Day. Tale LXXII. : - T 320.1.' Repeated attempts to se- . ■' .duce iniocent m i d e n . ■(Amhroslo'.: 7" 7

. making Several);: ' C . 243=lvl.7 f : 7'7: Witches kiss yDevil1 sitailp 7G .243. i« .7 Obeisance to' devil at witches 1 . sabbath.

Magic circle protecting V 1 : See Wimberly ■ "The ::MagiC. Circle," - D 1381.11. Magic circle protects "Kubla Khan. =' Matilda. ‘ r:pp. 3624677 for antecedents in .;from Devil; ,D 1385.7. Magic .circle. . v -. ’ -i: 7' ‘ - ; 7 ' . . ; 7' 4 ’ ■ ■■ . . ballads and.,for Tireferences to , averts • sorcery. - . ., -v . , . 7 . • 7 ‘ ' " 7’ ■ ‘ - : other material' on circles in . 7 • 7 7.;' folklore.

D 1003. Magic blood--human. She puts. out. sulphur \ For .powers of blbod see Fraser, 7 flame with her blood.. , - , IH, *247, 239 ff „ j Tylor, I, 7 . . 431; Wimberly, "The Blood- 7 7- Soul," pp. 72-82.

' G 303,3.1 ^' Devil;.in human form; The iivsterious Stranger (Mark Twain). .Devil 'as- beautliul',.' 7 ■■ . Paradise host (Milton), Bk. Ill, G'7303. 3.,2.2.7 Devil appears as 'Zoflova' (Bacre) has accompaniment of 7: an "" " ' ' " ' ' flute-like music for Satan (who is .melancholy- siting saja,; 7' .' 77 ' v . ' 11. ''636-643.; 7'.- or serapbu, accompanied'' 7. '7 ."" 7 : ■ "7' . Eblis in Vatheki 7 .• 7 ■ 7 '' .:. the handsome Zpfloya). . ' ■■ .7 by melodious music. '-7 ,7. ' ' 7^7. : .7 ,7' . - '4 7 . ' .. 7'

r: 44 .Continued

■■ : V : ; ^ 'SOURCES AW y . : LITER&HE ' BOBEMINGS : . ' THE MONK ' - ■ : ^ : { : . . ; . ' ANTEGEDENfS ' ' ;; t-y y.y . : MOTIF INDEX < . ■ t-yi . yy y Alfe: AMAL0GUES; '

Admission to Antonia's" ; - Golden bough' in Virgil's : y B , 152P^::iy ’Magic t r a n s p o r t a ^ y: Robert le Djable. (opera.^ Meyerbeer):, .chainber -by use of a. ■' ::' : ■■■ Aeheld,;' Bk VI. :, y , tion b y bough; B 812, 3v .Magic" magie bnanch. ^ : v : " y.,' o b j e c t ;':receavedy f r o m Devii;. :■ 'I 13404 Entrance into girl1s room by trick ." : \ y.

Apibrosio murders Elvira, ' V - ..... "Santon Barsisa" (non-matricidal j. * l%tricide motif s , suggested.- in *: Zastrossi'parricide,,; ■ (his and Antonia's mother)." • - murder)„ :. ' ' " !' ' - Q 2l i , 2,yyMatriclde p^ ' Legends de S,. Jnlien 1 'I . Parricide glus incest .is one | -- a n d i n ' . :S, 2 1 , 1 '. ’ S o n - - b u r i e s a g e d y ' (Flaubertjr y' :- '' I ' m • ’ 1 ; 1 version (l$th century Eatin) ■ . mother alive. ■ , of Three' Sins of 'the. Hermit. - V ; ' " " ( V " :, i : ,;:1 : , y-l Oedrous, • ' - : 'I'-""" ' „ :

Elvira^ as "-an/ a^ajMAion ;: ■ - ■ • , : 1 "Lord Lovel" (Ghild; 75 l). I E 545» 2. Dead predict, death; ; vy ;y . : The Marble: Faun,"' (Hilda -wishes her wai^'Antonia.oi:,her,;bm "i: v;: : ; ■- : : l'; j- . ' E 3 2 3 . Dead mother's friendly .. : dead mOther-would return and. pro-'", imminent death, : ..V;. .v f r e t u r n ; E 366. Return from; . . tect her,): ' ' ' y. ".. ' y y dead to give cbunsel'; - y y y y ; - Benevolent spirit of Christabel^s P 403- 2, 3 , 2,; Spirit gives ." , - ■ mother, . ■ : - :: 1 warning; D "1812. 0 .1 . F o r e - ■ • ' ' . ' ' . . vyy "knowledge of hour of death. ' ; y :y:. y y. :y yy'y

A sleeping potion to: pro- ’ ' 1 Romeo and Juliet,' ■ I, ■ '.y ;• 1C -1860, Deception by' feigned duce;-apparent’.death is; ad-; • I; Vathek (Beckford), '. ;. -death : (sleep); K 1 3 3 0 , - G i r l , minstered to:^ Antonia by : , ■ ■ ' Italian variants of ^'Broomfield' tricked into man's room (or ih^ixisiov ".y v ..:’ ^ ;;. ’ i/yy yy, y y ; y - yBill" (Child A3)..: : " ;; . : pdWep); :K 1536, Death feigned ' -to.; -meet p a r a m o u r 1 1 B 1964- 2, - ■y:'""vy ■ "v" ' M;-: - y y ’ '.y " - .'(The Gay Goshawk". . (Child '96), Magic" s l e e p : induced b y di.s- •': “ appointed suitor. ; y • - - 45 : T # m i Continued SOUBGES AND ■' ""--p— ; LITERARY BORRGMINGS THS .-HDNK MTEGEDENTS ; laDflF IMDBX 1 ■• 4,;.: ' . - AMD AKALOGOES , Ehtombmerit .;of f!Antor£La .in Romeo and Juliet. S 123.1. Aurial.' alive of .drugged' . ■ Zofloya.. - ;.f;i''■ the convent sepulchres „ %Ge-s Victimes cloxtrees. person; K 1533.-Death feigned. ; Zastrozzi. "Graveyard school" of poetry. to meet parsWur; Meetings in - V ' Oaiaille. ■' ou le Souterrain ' ■ the grave. :; : ; ' : ' 1 4 vl': ■ . ; - ; ' '1-4 V ' ■■ ; (Marsbllier). ‘..' V ^

s-

Ambrosio awakens Antonia Les Intrigue s monastique s. T 344. Monk, cures himself of de- " Revival of Clarirnonde by a kiss \ ' and rapes her; . ' vies Victimes .'cloltrees. ^/.t,sire for dead ;sweetheartv: He " ("La Morte amoureuse"). ' ■ ' ■ Decameron X, 4« •, .. • digs 1^ her - resins;;; 1 ■ 37v Loyer-; ■: - ' , ' t . • . : ' ' v '1: ' : -"Santpn Barsisa." ;. finds lady in. tomb apparently dead. ' ; ’ Heptameron incest stories; - She-revives and mrrie.s-him; ■ - ; : above. '' ' ... T 471.1° Man"unmttingly ravishes 4 his own sister;' J 435. Three sins ' '4 41:: 4 14' - - . . . " "4 ' '4 of the ^hermit. ; ' " ' - . : 4 4 ' ■ '' " 4 ; . . ; ■ ' ' v: . .4

Ambrpsio stabs. Antonia to . - ' .dies Intrigues monastiques. J 485. Three sins of tts hermit;4 Murder of lelia by Magnus (first death. .; ' ' % a n t o n , BarSisa. ' ' '. ' ■ V 465.1.1.1. Monk having seduced' version of &. ■ Sand1 s: Lelia.). . -girl kills her and becomes in^- A *Murder of the entombed Lilia by ::. fidel. 4 ptl-', ;. .. '4‘- A- ' ,;44: Victoria in Zofloya. . A . Near-murder of Ellena by. Schedoni in The Italia-n. ' 4 ' Murder of Julia' by llatilda. in - ■ ,'Zastrbzzl. :4 ': 4 4 ; - v:

f

Ambrosio accused, questioned 1 Parallel: theme in Measure for K 2O6O. Detection of hypocrisy; Melmbth Inquisition spenes> by t he Inquisit ion', - and con­ Measure (hypocrisy detected ..N 432. .Secret learned by torture; Zastrozzi Inquisition scenes. demned. • • . ^ Vv;r v:' ti 'in .epitome of. virtue), . ? ' :1. 271 Murder .will out; A : . t: ; ■ ’ " ' - 4 . 46 ■V-V y . \ : . TilBLE I Continued . : - . SOURCES AND - • ; ; . . ’ : iSi&M BORROWIHGS - 1/ : : Tm HOME • ■ ' MTECEDSi'ITS 1 / , ; : 1 ... iWlIF m B Z . AND ANALOGUES - latiMa-^pears; as'a^deron , " . Alphabet 129 and 257. \ I . - i ' '/ T 330. Anchorites .under temp- "1 - ^Matilda in Zastrozzi.- . ' '4 herself and says she. was . ^Eapia, ..Medea, ;yahp 1 ' tation?-;':.F i^2.1.4.^Demons 1' ^Victoria .in Zofloya. . . originally sent by. the \ . ; saecuba5^tti.tch .Mtededents> v •. Cassuine human :f orm in order to; : ' ' ' ^Geraldine 'in Ghristabel. . - Vi Devil to' rain Ambrbsip. - . ■ -. See Kittredge, pp. 115-123 • . . deceiyep E 1961.3. Devil dis-^ •' *Une Femme est un diable .: (Witchcraft) and Tylor. II, - - . .. guised as monk; T 332. Man (Mdrimee). : 190-91. ; ; ., ■ ... v ■ 1 tempted by fiend in woman's . . . . Seduction of Eudore by Yelleda Matilda's cabbalistic magic • : • . shape; ,P 471.2.1. SuccubuSs it , : i in Les Martyrs (Chateaubriand)^'. -has been like that of Oarathis 1,; . female Incubus; T 337. Woman ; . #,tllda ' 8x;chara.cter 'reappears, in. : • • •' in Vathek... ' wagers that'she can seduce ' Salaomibo ;' -(Flaubert) 5 - 'Carmen •" . .. Heptameron,. 8th Day, Tale,LXIII.' ‘ , anchorite; " 7 ^65..1,1. In- . :' V- (Merimee), Ce'cily (Sue 's' '.' continent monk; D 658.3. . Mysteres de Paris) and • 4 4. . ; . 'Transformation to female to ' Clarimoiide,. the courtesan- '■ seduce; G 313.25.11. Devil. ■. . vampire in Gautier ' s "La Morte takes place of woman who went amoureuse. " (Praz thinks- ■ i; i '• " to spendvnight with'a.priestj.M ' ■ . Clarimonde's orgies based on 4 . , G 303.9.4.4.. Devil tempts -. ' .. . . . ' the Bleeding Hun's in life,) . ... clergjnnan; . D 1901. Witches - ’ She resembles Esmeralda in Notre- : . induce love; G 243.1.1. ; ' ■ ; ' ' Dame de Paris when Frollo ■ Witches kiss Devil's .tail; ' , thinks'Vher. sent by Satan■.to-. V: ■ F 585.1..Fatal enticements of :. teiipt him.; : ; ..V'4: VY ' phantom woman;' T 336. Sight or. lliriam in The Marble Faun. - - touch of woman as source of sin; ' •"Morelia" and "LigeiaF '(Poe)." ' T 332. Devil deceives a scholar . The Lay of the Last Minstrel by lying with him in the likeness. (Scott). yi VV"i ■" :. ■ •... of a woman. - ' • . ' '

; • ■ This, is a defective motif number and evidently the motif belongs as a . ;' Ml . division of T : 332. -(Man tempted by fiend in woman's shape). ■ The motif - : ■ ' v. about theischblar;is the story of. Alphabet 257; it is named in the'lotif Index ■ only in a cross reference under G 303. , 47 Continued

SOUECES AND ' LITERA.RI BOIfflOWINGS . THE MDNK ANTECEDENTS ' m o t i f i n d e x ■ . AND ANAL0GHES Matilda urges Aafcrosio to sell ■' .Faust versions, J 485= . Three ; sins of the . hermit;' ... i' : Melmoth. . : : ';.i ■ : ' I..: . . out to the Devil to escape ' . . ; ^»Santon Barsisa,11 G 303= 6=1.2. Devil, comes when'' 4 The . Fisherman and. His 'Boul.. punishment (burning alive), -- called-upon; V 465=1=1=1= Monk % o f loya., is. - the Devil; Victoria gives He.refuses, vacillates, and at having seduced girl kills her and him her soul. the last minute sumnions the: : - becomes infidel; Q, 414=0,3= Burn­ "The.Devil and Daniel Webster" :. Devil and makes a compact'uith . . ■ viv: :. ing ,as punishment f or incesi; f-' r .4 (Benet)= :; .(The compact is sfgned him, signing it In blood. At­ Q 414=0,4= Burning as punishment ; . . in blood.)'' ' il-'' I:'/ '-.:.)':'', i tributes of the Devil on this , , for ravisher; M 210= Compact with: ' ' Zastrozzi corresponds-to lewis's appearance; blackness, talons, -. . Devil; G 303=6=3=1. Devil is Devil. .; huge size, sable "wings, snake- . ' • followed by a thunderstorm;; hair,1 furious eyes* accompanied ; - G 313=6=3.4= Devil, appears , in an ' by thunder, lightning, . sulphur .; '. - intense light and withistrohg odor ' whirlwinds o ' : ": of sulphur; .G; 303,4= B. l=. DeVil 'has ' sulphurous odor; D 2141= 0=3= Storms ■■ produced by Devil; D 2177=1= Wind ' raised by calling on .Devil;: G 313=-4,2= The Devil's wings;' G 303=4= 4= The ' " Devil has claws; G 303=4=1=2=5= Deyil has, passionate look in eyes; . - ' "' G 303= 3.3=15=’The Devil in form of . - . snake (merely .Medusa-headed in The ■ Monk)t' M 211= Man' sells soul to Devil; .. M ; 201=1 = 2 = Pact with Devil signed in blood...... 1 ■

' The Dhyil soars;!’off with/'■ The- Devilfs bearing people oft is G 303=9°5=4. Devil carrles man thrpugh la Tentation de Saint Antoine,. ’’ Ambrosioy • . . • :%common,e.g. Dr. Faustus (Marlowe), . air as swift as wind; R' 11.2=1= Deyil . . • • "Riddles Wisely Expounded" (Child i carries off wicked people; ,G 303 = 9= 2= : • l), "James. Harris -(The. Daemon I Devil performs deeds of unusual. : r Lover )" (Child 243 E,G,F), 'Dando j . strength; G 303=22=13= Devil saves: . ; ■ : . ' , ' . ' and His Dogs," a folktale' re- . I heretic from fire; E 75.2=2. Soul ■ ■ ; • corded in Hunt's Popular ! carried off by Devil; R 215= Escape .. Romances of the West of England, I from execution pyre by means of . . pp. 220-23= I wings. : . 48 Continued SOUECES AMD L1TEBABT B0BB0W1NGS THE MPiK M'lTECEDEMTS ■ M3TIF INDEX . A m AMALOGHBS

The Devil mocks , at and de- 1. ^&nton Barsisa” (repudiation , ' G 303-17-2,4, Devil and sinful Devils hurl Melmoth into the sea, nounces Ambrosio-^then -. ■ A .. . only).' ;■ /v , './.i - '' ' ;priest disappear amid blaze of *Fall of Claude Frollo.(Motre-Dame hurls him to., destruction, . „■' *Der TeufelsbeschWorung- (Veit . A,; fire in the river; V 47it 4=. ' de Paris), . ■ The river.washes away his ' ' . Weber [Wachter] )^ . translated A Monk who has left order punished '^Zofloya catastrophe, (Zofloya body, - ;; y ; v ; ; ■' to English by Huish as The (dies in torment); AM 212,2, announces he is Satan and hurls Sorcerer A (This: is particular- Devil at.gallows repudiates his Victoria off a precipice,') A ly close to the alternative A ' bargain with robber; Q 550,1, / ' ending of The Monk; found i n . Supernatural manifestations at ; ’ " the second issue of the /first .■ death of wicked person; Q 242, ,;..//"' edition -and.: used: again 4in the • Incest punished; Q 243» In'- ^ ■ : , Grove' edition, ): - continence punished; Q 244. : A'Dando and. His Dogs," - A ' . , Punishment for ravisher; . ■ - Betit Pierre. (Spiess), / Q 211,2, Matricide punished; . Q- 220,1, Devil plagues impious . ■ ", . *; sit upon the- Wizard's grave ' people; Q 221,3, Blasphemy . That Wizard Priest's^ whose bones punished; Q 331, Pride punished. ' -A'are thrust.. . . From compahy of holy dust A ". .-" a. Walter Scott footnoted these ' ■ lines, he■ wrote ;for the. '.Bitro--- .. - ductioh to Canto.Second of A a ' AMaimiionA explaining that they referred to a mound "where tra- Aditioh ..depbsits .the remains of a necrpmahtic, priest, -, , .,-' ■ /His' story.much resembles'that .of Ambrosip in ?The Monk,1" ■ TABIE.XE

Raymond and Agnes 50 ; TABLE | II

Baymond j and Agnes SOURCES AND LITERARY BORROWINGS • THE MONK ANTECEDENTS MOTIF INDEX M D ANALOGUES Raymond, traveling through a. Ferdinand' Count Fathom (Smollett), K 765o Meeting with robbe r band; The I'liller and His Men (Pocock). forest in Germany, takes Die Rauber (Schiller). IC 64O. Escape by help of con- ■ The Woodman's Hut (attributed to shelter in a house that is federates; R 162. Rescue by ' S. J. and to W. H. Arnold). the hideout of a band of captor's wife; N 455«.2. Robbers' Die Ahnfrau (Grillparzer). robbers. He is told by plans, overheard;' K 1916. Robber. -loret de Sicile and Marguerite, Marguerite, his host1s, wife, bridegroom (Is the motif of ■ - .ou les voleurs (pantomimes based . that they plan to murder him and Marguerite's story, told to . on The Monk, words to the latter another benighted traveler, the . Raymond. ') ;- K 331.2.. Owner put . ) . by .Gammaille). . - • ' . Baroness Lindenberg. He eaves­ to sleep and goods stolen;'.K 1868. drops on the robbers, fakes Deception by. pretending sleep; drinking a sleeping potion,' and R 116. Rescue from robbers' den; escapes with Marguerite and the R 111,1.2. Princess rescued from Baroness. - . robbers. ' ■ . '' :

The Baroness invites him to her An old tradition, suggested by See motifs immediately below r ■•■y. castle. There he meets her Abelard and Heloise, in litera­ suggesting the unwilling nun. ; niece, Agnes, who is to be sent ture by Diderot1s La Religieuse to a convent against her- will. . (published 1796 but written 51 Continued SOURCES MU- , -. , '• ' . : .LITERAHI BOEBOEraGS THE MONK MTECEDENTS MOTIF- INDEX - ■- AND ANALOGUES,

Agnfes "bells:Raymond the stdry . *1ev/is wrote in his ''Advertisement'! to V 465.1.2. Incontinent nun) K .1841.1. 0 : Borrowings e M s t mainly in relation . o£'.: the ancestraT ghost, the The Monk.'"The Bleeding Nun is a . ■ The nun who saw the world;. ¥ 475. Image. ; .' to the story of Raymond and . Bleeding and of her re-. : tradition still'.credited' in 'many :: bars way of nun trying to escape convent to , ; Aghes and are listed below, turn every five years. parts of Germany;, and I have been join lover; ¥ 254.5. Nun forgets to hail told that the ruins of the,:castlev j . Mary and;goes into the world to siri,; ' Railo thinks. Scott's Constance de The' ghost of Beatrice now of Lauenstein,. which she is sup- ; I K 2231. Treacherous mistress; K 2211. Beverley in Marmion is derived lives in a boarded-np room posed,to haunt, may yet be seen ; I' .Treacherous brother; ..K; 2230.; Treacherous; , ;. from the Bleeding Nun. Praz ■ of the castle;. The :e.theisti^: / ■' v upon tbe -borders of: Thuringia;11 .. iv .lovers; K 2221. Treacherous rival lover; thinks that the orgies bf ; cal nun had'eloped from her ' ' (lewis referred to the Nun as she K 2211.1. Treacherous brother-in-law; - . Clarimonde.in "La Morte amoureuse ' convent 100: years before: and:, affeciS the Baymbnd-Aghes story--*' 1 K 2213.3. Faithless wife plots'with-para-" are based on those of the Nun be- ' lived in sin ■and debauchery " . see below. ) - " , '■ ' mour.against husband's life; Q 226. Fun- . fore her murder. - . : , "Wihh her: lpyer>: ' Ba2'on I ' : ■ X' or i the powers of. blood see Frazer, 1 ishment for leaving holy orders;;; ;211.3^ _"L6gende de la -nonne" (Hugo) ... : liindenbergr She and the ; , - : III, 247, 239 ff. ;■ Tylpr, I, 431; Blasphemy punished;. Q-225. Punishment Lewis's own Castle Spectre, ;■ Baronls younger brother - : . Wimberly ("The' Blbod-SouL") , 0 .. for scoffing at church teachings; Q 243.I. ^ ' - planned,his murder. ■ ■ Beatrice 72-82. 0 '. ;: ' : .- '0- O';;. : -Prostitution.punished; Q 220. Impiety knifed: the Baron and met her . % ■ -punished;; Q 211. Murder punished; . T 173*;; ; ; ; . V"'': nek lover in a hayey where; v ... Murderous bride;; T 4&1.1. Adulteress 1 instead of. marrying, her, he ' : v roughly treated by her lover; ,. E ■412.3. ; ' ;. '1 -,;; killed her 'With the same v v. '' Dead without proper funeral rites cannot : ' - ' " dagger. Her bones remained in • I rest; E. 415. Dead cannot rest until certain .the cave. ,, .The ;noisy spectre ;of | .work is. finished; ; E 411. Dead cannot rest ' , V:.;; V‘; Beatrice, the Bleeding Nun with" [ ; because of a sin; E 413. Murdered person; / ' - - - knife and lamp, haunted. the new t I. Cannot rest in grave; : E 27.5.; Ghost haunts . ; Baron, until he died of a'ccumu- I • place of .great accident or misfortune; E ;282. . dative shockj then it was exor- ' . . I Ghosts haunt castle; E-:402. -1^ ghost-;,, , ; . eised to' Where it now haunts the !'■;. like noises heard; E 443. Ghost exorcised and Castle only every five years., t | laid; E 210. Dead lover's malevolent return; At 1 a. m. .(the hour Beatrice . had ■; - j E 231. 'Return from dead to reveal murder; ; E 232. ' .' - '■ - murdered the Baron) it is visible 1 : Return from dead to slay wicked,person; E 265. for one hour,, stalking through . ; Meeting ghosf-causes sickness; E ''26l. Wandering . . - • . 1 the castle, visiting its skeleton V ghost makes attack; E 585. 'Dead person visits in the;cave, and returning to the ' earth periodically; . E : 587., Ghosts walk at ' . , , . ; ' . ' 'castle. ' It is a family tradition / certain times; E 592. Ghost carries'burden ;: to leave the doors unbolted for ! (dagger and lamp in the case of the Bleeding Nun). 1 the visitant. Of ■' ..; ; ■ The Motif Index mentions no bleeding revenants. ■ Compatibility with folk themes is indicated by. ' ■ ^ ! the motifs F 991.2. Bleeding bone, D 1624. ' ' Image bleeds, and D 131G. 5>2„ Corpse blee|s when murderer touches it. | 52 iiBIS II Continued - ’ • " ' -\ . SOUBGES Affi) ' ■■■■■'■ ' — —“ • >. ; ' LITERARY BORROWINGS , . . THE. MONK . - ANTEGEBENTS , - MOTIF INDEX ' - ' ; AND ANALOGUES

Agnes plots' to escape from, ,sDie Entf uhrung0 in' Volksmarchen I' K $21. Escape by.disguise; "''Bleeding Nun ballad in Lewis 's own the castle'. disguised as the .1 der Deutschen (Musaeus). J 2311.3. Sham reyenant; ■ Tales of Wonder. ■ spectre of the Bleeding • "Die weisse Frau11 in Neue • K l6B2. Disguise as ghost. *La N o m e sanglante (opera, Gounod; Nun. . ■ ■. ■ ' .. Volksm&rchen der Deutschen libretto by Scribe). (Naubert). . : ^Dle blutende Gestalt,mit Dolch und Wundergeschichten sammt dem . Lampe (anon.).' ; Schlussel zu ihrer Erkltrung ' • *Die Ahnfrau (Grillparzer). ' ' ' (Tschink). ' . • . . "G-hasta," Shelley's juvenile pro- • Der.hdllische Broteus oder duct ion, has echoes of the -V tausendkdnstige Versteller . . ■ Bleeding Nun story. (Erasmus Franciscus) (containing ^Raymond and Agnes was the title of another "weisse frau" tale).: a ballet, opera, and play. Baldensperger says that dramas' based on the Nun, of no literary ■ value themselves, prepared the : public.for.Hernani and Henri III. , . He cites an. end-of-the-eighteenth- century Nonne de Llndenberg and an 1835 Nonne sanglante.

Raymond-meets the real ghost See" sourdes .listed irbmediately/ • ' j. ' E 266. Dead carry off living; ' •' See borrowings listed immediately and mistakenly' elopes with above. I T 92.4. Elopement with wrong above. her. ' They ride a great ' , The wild ride Is reminiscent of I lover; E $01. Wild hunt; D 2122. distance in a few hours and "The Suffolk Miracle" (Child 2?2)3 I. • Journey with magic speed; K 1911.. wreck the carriage. the analogous folktale, "The I 1.1. - False bride takes true Spectre Bridegroom" (Hunt's' bride' s"' place on the way to the ': Romances» pp. 233-39) s. and Burger ’ s wedding. . . .. ;; / .; " , y k <. "Dendre."'

I 53 .Continued .

SOURCES WD , : . L3TERARI BORROWINGS the m o m • : : .'MISOEDEHTS ' ; . ' | ' MOTIF IHDEX . AND ANALOGUES

The Bleeding Hmx (who re- Affection of the ghost in. "Die , ' I E 5S7. Dead persons walk at certain ■ ^Hypnotic snake-eyes of .Geraldine : sembles a. corpse) haunts , Entfuhrung"; also in Lewis 1s avowed, !• timesj • ,E 26,5. Meeting, ghost- causes•, . in Ohristabel. Bajmond. regularly .and af- oral source. Both ghosts , continue ! sickriessi. G 213.'Witch with . ^Actions'of Geraldine in Ohristabel* s .fectionately, fixing, him: , ■ to haunt their young officers j -extraordinary eye; D 2072.1, Magic .. . room the same as the Nun's in hypnotically with her eyes ' regularly.; |. paralysis by Evil Eye; F 541.1.4. . v Raymond's. . . ' ' :. 'l ’. that resemble a rattlesnake'! s„ i: • Serpent-eyei .E 422, The living , '''Ancient Mariners "The Nightmare : - At. the conclusion of each .. The refrains s': .' |. corpse; . E 422.1,3» Revenant: with Life-in-Death was'she,/Who thicks visit, with her cold lips, she . ice-cold handsj E :425.1.6. man1 s blood with cold. " . , kisses.him; on eich visit she Jn.' Musaeus as quoted by Ritter Revenant as a horrible female "La NCce d'Eliaanee" (Deschaaps);. remains for one hour, the icy ”. ■ (Archive CXI, 107n)— ' : figure; E 217.. Fatal kiss from Komer, "Wallhaide"— touch: of her hand freezing, hisi ■. dead; : E 471. living person- kissed'- blood for that period. ’ For- : ■ Frledel,: Friedel, sohick' I . - by ghost; E 4-74... Oohabitation of : -. Lieb Rudolf! bist mein! ' ... .. some months: Raymond, sickens. " dich drein, ich bin -dein, ' !. - living person and ghost; 'E 422.1.4. . Lieb RudolfI bin dein! - - ' du bist mein, mit Eeib ' | Revenant with-told lips; ■ E. 425.1.3. , Nicht Himmel und Hdlle scheide '. : Her refrain, spoken ' . und Seele. Revenant as seductive woman. .... 1 Uns beideI •to: Baymonds ; (The lover here, too, has mistaRenly: In Musaeus as quoted by A. B. Young eloped With: the: real 'ghost., who is Raymond 1 Raymond I Thou art mine i bloody but not a .nun. ) ■ Raymond 1 Raymond 1 I - am thine 1' ' in thy veins while blood shall Ich habe dich, nie lass ich dich La Nonne sanglante (opera, Gounod; : : roll I am thinei: : ; fein Liebchen du bist '.mein,' ., : libretto by Scribe)— " : .: • ; Thou. art, mine! — . " ' • fein Liebchen ich .bin dein, ' Mine thy body, mine thy soul! " ' du mei% v ich dein, : , \. A toi, ma-'vie!. . • mit Leib und Seele , L'hymen nous lie ; :- ■ Et pour jamais! , lewis' 8 source— . , : " • ‘ ' ■ Shelley's. "Ghasta"-- . ' I ; Rrizchen! .Frizchen l Du bist mein ■ Frizchenj FrizchenI Ich bin dein. .' Thou art mine and I am thine- liCh.deihi 1-: . : : - 'Till the sinking, of the world, Du mein, - . ' . I'am thine and-thou art'mine, l^'Mdt lbib;' und seel. ■ ■ . :: ■: ; 'Till in ruin death is. hurled— -(One other similar stanza follows.) ■ ': Musaeus1 story ends ha.ppily, with the ■ . . officer finally, rejoining;his true ■ . sweetheart .f In iewfs"s source ' neither officer, nor'phantom is ever heard of again. 54 i i Continued

SGUECES AND " ■ • , EITEEAEI BOEROWINGS THE MOMK ANTECEDENTS , ' " ' F3DTIF INDEX . : AND ANALOGUES ■

The Wandering Jew appears to In Musaeus a sergeant-major of the | q 502.1. The Wandering:,Jtw5.> The Wardering Jew (a farce by lay, the ghost. hero .’ s company is the exorciser of | Wandering as a punishment; Q _ $03. Franklin,, produced. 1 7 9 7 ) . ; the ghost5 instead of the Wandering :' , Wandering after death as punish- ' St. Leon (Godi'in). Jew. ' . ' .. : - | . mentj- E 443.2.1. Ghost laid by St. Irvyne ('Shelley), ■ , 'g I .saying masses,; E 412.3. Dead ' Ladurlad in Southey1s 'CurSe of His appearance-^black 1 s Relioues. "The Wandering Jew. " , without proper funeral rites cannot, Bahama. : ’ magnetic eyej, burning Per Ewjge Jude (Reichardt). , ' rest j. E 607.1. Bone s. of dead colw r ' The Wandering Jew (Shelley and . . , cross on,forehead, :'Der .Gelsterseherv .■ -f •llected and buried; E 235.2.. Ghost gifedwinj. :;g g g , ■ melancholy. - Brief e deS' Ewigen- Juden (Heller). : ; ' returns to demand proper burial; Queen Mab (Shelley) . , . Per Ewige 'Jude (poem by Schubart)'. 1 - E 443. 4.' Ghost laid .by:'r^slngi;a'>;v(.'- g Hellas (Shelley). ' ' : L 'Histoire admirable dun' Jhif errant ' . ; cross ;' • D 1272. lagic' circle; 1 ' iEmfred (Byron). (17th. century, anon. , 1 ,B 1273. 0.1. 6harm written, in: blood " The Wandering Jew, a Christmas Vathek (hypnotic eye,only). : . has magic power; :D 2071. Eyil eye. Carol (Buchanan). . Kelmoth. (Melmoth1s bargain- with His destiny. '..First English literary, record of the , Satan makes him,a sort of Wandering. Jew appears in Flores Historiarum Jew.) -' ■ .' . •, of Eager of Wendorer (early The Ancient Fiariner1 s fate at the thirteenth. centuiy). ■ After this throw of the dice is like that of accounts•are frequent. An influential the Wandering Jew. Lowes says one, giving the. Jew his common name, : that the burning cross on the fore- '. Ahasuerus, is-in a,,German. chap book ■ head :pf ;Lewis 's ’Jew may have been . -printed in 1602. ' ' .. . : "latent in Cole ridge 1 s mind" when , he wrote, .""Instead, of the cross, , Exorcising the ghost--, Fpr blood and circle antecedents'see- ' ■, tBe ; W / AbOut my neck was ' g. ■crucifix> bones, Bible, above. For the- protective crucifix . hung." . Lowes thinks also that bloodj protective in balladry,' see Wimberly ("The Sign / . :;tM .Mariner's - hypnotic eye was de­ circle. • : v. - , ¥ . , of the" Crpse"), pp. 367-71, and for rived f rom that of Lewis' s Jew • - the power of-bones Wimberly■ ("The, ' and from.that of the. Armenian in g- Bone- , - pp. 68-72. Der Geisterseher. -, le- Juif Errant (Sue). (The Jew • G-ho st wants its jbbnes,,, Tylbr (IIj)27-28) lists world-wide carries the plague, in an anti- gg. properly buried.,;and : - occurrences of the belief . that Jesuit novel,) ■ masses,eaid so that it ghosts will walk until their bones TheBlaint of the -Wandering Jew can rest. r , - ■ • have received -proper burial rites. (Granville) . The Prince of India (Lew Wallace). :r Salathiel the Immortal (Croly). f #Ghasta.T' - , v, - 55 Continued

SOURCES- AMD LITERARY BORROWINGS THE MQMK AHTEGEDEITS MOTIF B5DEI AND ANALOGUES Agnes^'. thinkittg herself de­ ; Decameron III, no.' -1-. 1 I523.- Man.disguised as Scenes with nuns in Dumas 1s Don serted, becomes' a mni. She gardener enters convent and Juan de Marana (opinion of is .found by Raymond, who ; seduces nunsj; T 400, Baldensperger). y frequents the convent dis-; Pregnant nuns; V 465.1.2. guised as a gardener.- Agnes Incontinent nun; H 1385.5... becomes pregnant. . . Quest for vanished lover;

Agnes':s , escape is stopped. . ' Dante 's Infe mo (Ugolino). V '122. Image bars way of nun Convent judgment chamber in Marmion On the.orders of the cruel Von Gerstenberg1s Ugolino. trying to escape convent to . is like the scene. of Agnes's ,trial. abbess she is buried alive • - la Religieuse (Diderot).' join lover; Q 456. Burial Fate of Constance da Beverley in: ; ' ; in the deeper vaults of the Les Victimes cloitfees.- alive' as punishment; Q. 455= '' . Marmion. •convent cemetery. .For some 1 , Camille. ou le Souterrain. ;■ Walling up as punishment; ; ^Zofloya (Lilia imprisoned in cave months she nurses the worm- : .Ju l i e ou la rellgieuse. de. Misme ' Q 41.5.3» Punishment; man eaten ' by Zofloya).. y .: Of ' eaten corpse of her baby and (Pougens). ■■■'.; by worms (Agnes 's baby); ' Zastrozzi (imprisonment of Verezsi is finally rescued by her .. . Decameron 4. - ' ; T 501.2. Child bom of woman ' in cave). brother^ Lorenzo, and y ; • - ; ■ .Graveyard school of poetry;v. abandoned in pit; K 1530. . " Esmeralda ip Notre-Dame de Paris. reunited with Raymond. •' ' . ‘ . Meetings in the grave;: yR--212. Robert le Liable (chorus of spectral "Sweet William's Ghost" Escape from the grave; Q 491.4. •, . ' nuns from tombs).' ".---v .. . (Child 7 7 B)—' Toadsf -and snakes devour c o r p s e ' ; The Abbey of St. Oswyth (Curties). "Down among the'hongerey of rich man in his grave; Florentinisohe Nachte :(Heine). < worms 1 sleep." . y . - Q ;491..4» Penance; being locked :' "Proud lady Eargaret" (Child 47 A) in cellar and:-key thrown into ' : l*Fbr the wee worms -ars. my bed-:' water; .R 45. Captivity in . fellows, / And "cauld clay is' '. mound; R 41.3.' Captivity in - my sheets. " ... dungeon; R 156, Brother "The. Wife ofUsher te Well": .V( ..' ■ rescues, sister; S 146. Abandon­ . (Child 7 9 A ) - - ment !h pit; T 320. Girl.lives - : •: ■ "channerin worm:'doth chide." in sepulchre:to -preserve "Sweet William's Ghost" chastity; T 37. Lover finds ■ ; (Child 7? F)--^ : 1 ' I 4'.: ; - lady in tomb apparently dead. ■: :; : "By in " '. She revives and marries him; . mools they're, rotten. V: :(Why K 1911.3. Reinstatement of true Clerk Saunders' ghost.has no bride. CHAPTER I?

Motifs of The Monk in Pre-Monk Folklbre ■' ■ ‘

It Is' Uncertain how-amn^. intemediaries stood between Lewis and . . his, .folklore 'sourceso - None at all, he says of the Bleeding Nun,' Yet _ he was a b'ookish man, though a dilettante, and it is fair: to assume , that, he 'would.ordinarily have used written sources. The tables of the ■ preceding chapter;show the availability- of-his motifs in literature, particularly in popular plays, which were: re hashings of folk-material , and in collections of eerie stories that were in vogue in late

, eighteenth-century Germany. And for the incontinent, incestuous, mur- : derousv fflphk. and-h^ imured victims Lewis may also, have read the 1739 .Intrigues■monastiques or the Heptameron. which is to a great extent a compilation of folklore. Tale XXX (3rd Day) of the Heptameron, for ; instance';,a story of - double. inadvertent incest, appears in Amadis de h.i'' daule ,(c. 1500), related, even: then as nan old-time legend.11 ;' (Horace : '. Walpole was much intrigued with this story as the "true" misadventure . . of ah/English family. ) The,.incest tabus that give rise to such tales . ■ h , are /apparently primeval.^ . :i'h' , -: - : 'T - •

E. A. Vizetelly, ed., Appendix D to Tale XXX, The Heptameron of the Tales of Margaret. QUeen of Navarre (London, 1894), III, 215. ' 91 „ • Walpole1s1 Postscript to The Mysterious Mother, pp. 254-55 of ■ ' ■' . ■ -■-The ■Castle of ■Otranto and. The Mysterious Mother (London. 1925).

V ;.'/ ,v,:' F r a z e r . The Golden Bough (New York. 1935), II, 108, 113, 115, ll6. ' : : ■ : -.V::. : ^ h ; '--•'■f : 57 The .fear of burial, alive must be ins'binctiire; it appears in motifs .from everywhere- aad.' as much among oitilizei as primitive people. In the Decameron (Xj- A)? in a story that combines elements of Agnes'1 s and./ Antonia1 s -.immurement, ;a young. wife during pregnancy becomes sick and is

buried for dead. A knight who has: lowed her in vain visits her sepulchre and kisses her. When he plays with her breasts: he finds a heart beat and bears the lady home, where she gives birth to a son. • After much V

palavering and polite ceremony, the lady is returned, her .honor un- ;;:: . blemished, to • her husband. Obviously,, the Sleeping Beauty fairy tale is an analogue and is itself, in..a sense, a forerunner of The Monk; necro­

philia has long antecedents.: . // r : - : : V.' ; ; : ' Ourtin’and Hewitt, in Seneca Fiction. Legends, and Myths, report the story of “The, Old Man ' s Grandson., and the Chief of the Deserted Village, 'h : .. A young man in search of: a, wife finds in the lodge house. . ...•. of a deserted village the body of a young woman. He takes:ornaments . from her body and leaves, - but as he continues his. trip he keeps coming f bapk,- ' in’'Spite of himself,■ to the same village, even after.hefreturns. v- ■ the ornaments to break the Spell. ■ So he spends the night in the lodge

with the girl's body and in the dark is attacked.by an "unknown'' which .

he wrestles.'until morning.;/' (With more attentidn to the girl1 s.. jewelry :/.';

., Such- statements,}: based oh data lb the Motif Index.- are already documented'by the motif numbers i n .Column III of the-preceding' tables, ..' . Motifs 'on burial alive _ iti.ll' be ■ found, on pages 45. and 55? .■'i'lto.der-thosd : } '■ motif numbers in the Index are references, by country, to cdmpilations and studies in which'the motifs have been recorded. ■ - . ^^Thirty-second Annual Report of the Bureau of American Ethnology, 1910-1911 Washington, 191S), pp. 95-98. . •,:} ' ■ : - ■■ r.v'-::;;; . 58- and to the sumptuousness of her bier, •all 'this could come from the - Arabian Mights.) Suddenly at- dawn what is left of his assailant is a blood clot. He revives the "skeleton woman" with a drink containing the bipod. ■ She e^laihs that-hhe was only:enchanted.. Before the story, : is over, the young man, is buried alive, by the witchcraft of his enemies, ' • - - 95 '■ ■ - ' . : - : but Turkey scratches him up. What emotions. .were aroused in the 'Seneca Indians who told the

story it'is impossible to say. The tale, may have been reassuring or

disturbingj it may conceivably, in the fashion of the. Bomantic Movement, have expressed the teller's own.emotions,, poignantly or maudlinly. Per- : haps, some Senecas considered, it decadenti.' , -The topics of death and re- • vival must arouse emotions in- all men; tte particular motif of burial alive must have occurred to every culture (except, perhaps, to that of

some northernmost Eskimos whose ground, is hard and whose habit is to

expose bodies). ' . . , : 1 : ■..:■■■; ■ \ V ' In the Seneean story, where transmission to Lewis was certainly

impossible, there appears the primitive fascination of blood that made Lewis's Mun a bleeding nun.: There are 'suggestions also of the entomb- ' \ ment and rescue of Agnes, of the entombment and. revival o f Antonia, and

of the magic sleep induced in Antonia to produce the semblance of death.

Whether or not Lewis read Amadis .de• 'G-aule or the Decameron or Heptameron, we do know that he saw the popular plays and read the popu­

lar novels that stemmed'from their tradition. He wrote to his mother

Of. "Leesome Brand" (Child'll) in which three drops of blood ■ resuscitate.mother and son. . Some Danish and Swedish versions combine this with a buried-aliye motif (Ohild 1, 180). , • . •; . . from Paris when he was sixteen; "There is an opera, called 'he '. Sohterrain,1 where a woman is hid in a cavern in her jealous husband1s house; and afterwards,.by accident, her ohild is shut up there also, without food « one of the prettiest.,and most affecting things 1 ever saw. „ . ; ;*Les Victimes Gioitrees1" is another which would .un­ doubtedly succeed [in EnglandJ," At eighteen he wrote to his mother asking her. whether she had noticed that he had a personality like that

' . • ' . 9 6 - ■ ' : ' ' ■ V ' ' ’ . ' ‘ ■ of Montoni in Udolpho. . He was just then beginning to write The Monk. ■ Me know from Lewis1s letters, footnotes, and translations that at one time or another he had read collections and reworkings of.folk material by Veit Weber, Schiller, Musaeus,/Maubert, Burger,'Percy, Herder, Spiess,;Raspe, and Zschokke. , . ’ . The Monk, may seem like a hodgepodge into which as many grisly motifs as possible— from he Souterrain and elsewhere— -have been inserted

■ But even more cohcentrated in their macabre details are the analogous . stories in the Heptameron and Decameron; it is a characteristic of folk­ tales to crowd together just'such combinations of.disparate and often i macabre motifs. In Spanish folklore, lor instance, there is a tale, "Los Tres Trajes," that has something to please everyone, since it com­ bines:— and very neatly— the Faust theme, incest, and Cinderella. (Even the Cinderella element is latent in The Monk; Antonia needs only recog­ nition by her half-uncle, Raymond, to step from obscure povery to aristo

cratic wealth.). 3h.“Los Tres Trajes" a:father, desiring to have

• .96 These remarks by Lewis will be found in The Haunted Castle. ■ pp. B5, 88.- Lewis 1 s. letters to his mother have been printed in Mrs. ;Baron-Wilson's Life and Gorrespondence of M. G. Lewis (London, 1839). iirberccmrse with' his daughtei*, Blanea Floi*, sells; td-S' soul to the Devil in;return for, the three dresses she demands as her price, bianco, verde, and encamao^ • Then the Gihderella pattern takes over. . The girl5 non-. ' plussed at getting her dresses, runs away from home to avoid her father and becomes a slavey in the queen's palace. 8he wears a different dress to each of three balls, vanishing at 3 a. m; instead of midnight.- It is then Cinderella,herself, Blanca Flor, who praises the strange princess to the queen and tells how the prince had eyes for none but

her. There is no glass slipper, but the maiden has received the token of a ring from the prince and cooks it in a chicken for him.when she - - ■ 97 ' . • : ... wants to be recognized. . ■ Some of the folktales are remarkable in their parallels to The Monk, though the parallels could, as in the case of the Senecas, be co- ’ incidence. Two Heptameron tales combine Agnes.and Antonia into one per­ secuted maiden. In one; (Ath Day, Tale ■ ZXXIll) a hypocritical monk gets his;sister .pregnant. In the other (8th Day,. Tale LZKIl) the parallels are more complex. The tale .begins by explaining the same juxtaposition of monastery and convent necessary in The Monk. One of the monks, dis­ tinguished, like Ambrosio, for extreme piety and ssverity, is left late at night with a pretty young nun to lay out a body. The Devil is there and implants in him the idea of seducing the nun.- She becomes pregnant; the monk is disgraced and turned out.of his order.

■ ' Lewis's admitted source, "Santbn; Barsisa,11 a representative of one..

■ Aurelio M. Espinosa. Cuentos Populares Bspanoles (Madrid, 1946), Ij 215-18, tale no. 109.. Espinosa classifies this story under the heading "Da Dina Perseguidaa ." ' ; ■ ' of the great basic folktales>'. is in the ■ anti-clerical tradition of the Heptameron stories., This is/a tradition of Indo-European tales that ■goes much deeper than- mere anti-G at ho li cism. - lewis's Santoh Barsisaj, a .representative of the Eastern brs.nch of the tale, was, of course, not Christian at all, : ': . "The; first idea of .this fiomanee was suggested by the story of the 1 Santon Barslsa, related in The Guardian," wrote lewis in his ^"Advertise­ ment. " -He had found this recounting from the Turkish Tales in Mo. 148 of the Guardian, Monday, '&ugust :31j 1713 » : fhe 'scouhdrel. mo3ak'was already, in 1713, a stereotype, but the handling of the character had usually been semi-humorous, as in Chaucer. The Tale Type represented by the Sainton was "Three"Sins of the Hermit." It has been exhaustively , " ' '."'I-.' 7 : 98 examined by Archer Taylor in Modem Philology for August, 1922. / . ■ - / . ; ■ . . 99 •Taylor itemizes the written appearances of the tale. lewis, drew on

' a translation from Turkish via French of a tale which had been preva- " lent for several hundred years in European tradition as well. He re­ moved the eastern trappings (that perhaps had made the tale first seem ■ attractive - to him) and - in The Monk put the Turkish version back into

European dress. The "Three Sins" story is that of a holy: man who, cornered by the Devil, chooses among 'murder, adultery, and drunkenness the last and ' least of the three, which inevitably leads him to commit the others as

: f qb ; ■ ;.' " ■ ., ' ' ;: 7 ■ v. ■ ' ' ; : "The Three Sins of the Hefmit," ZX, 6l-94« 99 ■' 7 ' There may be added to Taylor's- list the appearance of the story in Defoe1 s. Colonel Jack. .' . ■ . ■' :: ::-; ■ ; 62 well. Occasional Versions introduce , incest and parricide, in The Monk and in the Guardian story the pattern has changed to omit drunkenness and to eiiphasize as the final and worst sin the selling out to the . Devil, who in turn repudiates the sinner. However, the number three is '• not emphasized as in the Europe an and some later Levantine versions, :' • ' Archer Taylor thinks that the.. Eastern Guardian story and its source in the fifteenth-centurv Forty Veziers are parallels that represent earlier versions of the Western stoiy, or -basic . ’’Three Sins of the ' : Hermit." The Motif Index suggests , parallels for ’’Harsisa" that - seem closer ■ to The Monk than' does • "Three Sins of the. Hermit; " .The "Three Sins"

' without its pattern of. three seems merely another anti-clerical tale with the"Devil as a participant.' These aboundp the Motif-Index lists Fausts, all sorts of sins of the clergy, and, in detail, "Monk having

seduced girl .kills.her;and becomes-vinfidel. " . Harsisa. in; the1'Guardian version, is a hermit of exemplary • holiness who. is sent;"in aiiing king’s daughter' to -cure. Being tempted by the Devil, •••he rapes the princess^ " Following, further- advice of the Devil, he kills the princess' to protect himself.. : The Devil betrays him

;; to the authorities and, oh' the scaffold offers :to save him;by trans­ porting him "two thousand leagues from hence" if Harsisa will worship ." him. The "deluded Santoh" worships the Devil, who spits in his face.

Harsisa is hanged.: ,'" /; :: 1'b ■:b; .' . : ■ . • ' vbb,..' , -., : . , There were British sources that would have been as suggestive as "Harsisa" if Lewis had been listening to old wives’ tales. Robert

Hunt,"in his Popular Romances of the West of England, telH-s the story 100 ; ■ : : . ; 63 . of "Dando and His Dpgsy “ 'Pando was a priest who ate and drank prodigally^ was particularly-fond of hunting, and was easy on sinners .in the" .confessional, H m t 's yersion esplains specifically that a : ■ formal blood compact with the' Devil was not necessary for Dando by his actions had, already sold out to him, - ' B^ocrlsy -is mentioned as one of; his sins. The Devil, of course, prized such a conquest, just as he

prized-that of/ Ambrosio, ' The -story enphasizes drink as the cause of Dando's downfall, (In. this it is close to: the basic "Three Sins" but •not. to lewis, ) Friends ‘ "of both‘aexes;of 'dissolute habits", plied Dando with .liquor so that he was habitually tipsy. One Sabbath morning, - :: after- a- riotous hunt, Dando receives- from a stranger who has joined the party a - drink of liquor distilled-, in heli^-what he has called for, in ■fact. He drunkenly attacks the: strange hunter, who is appropriating some of the ^ame, a n d . is seized "by him. The hunter, the' ■hunter1 s horse - • (whose eye has' an "unnatural lustre"), ..and Dando. take a wild ride to the river and leap into the midst, of it. Devil, horse, and priest dis­

appear in a blase of fire while the waters boil./ ^ ^ ^ •1 s combineciL incest,::viblence, -:and - death are all- present in . some versions of the IThpee 'Sins" . story. The combination is. nothing ■; new and. even has an air of- inevitability about; it,. In primeval times incest was perhaps, not abhorrent hut an: accepted fact| however, at : least since:Oedipus murder has been the common accompaniment. In : - ; '. - : --r v..: ancient Persia,.according to legend^ Gambysis killed his sister-wifej

' ' 100Pp.'220-23.. ' : . V . '. ' ■ ■ . - : . ■ - ., ■ - . : ■. - - ■■■■■■ - " ■ 101 ■ ■ , . , . the Assyrian Semiramis killed the son she wanted for a lover. But in origin stories death is not the .price of incest at all— there is no penalty expected. Palace revolutions on. Mt.. Olympus resulted in cast- out fathers and incestuous alliances,' but Ghronms did not kill his ■ father Uranus. He. onlyT castrated him. Incest; here (that of Chronus and Bhea) is treated:-as a fact .of 'life. Often in' aboriginal tribes strong tabus prevent incest and definite penalties are not. needed; .. . ^ ■; ■' ' . . ‘ ’• ■' * . » ■ . V.V; ■' ' : 2.02 : there is theh. no associs&on Of VviQlSncev Mtb: incests .: ■" But incest is Sternly condemned by the sophisticated Mosaic haw and is punishable by death.; ■ ' ' V '■ /: , : .. , By the time John Ford .-wrote 'Tie Pity She's a Whore....a long line of Greek and. Roman,precedents had made it seem that so ill-starred a love as that between brother and sister could only result in the very poetical ultimate calamity of death. "By then f olklore had long been producing the same combinations of motifs- that: we find in Hippolyfcus. Oedipus.:and. Phaedra and that we find in The Monk. Incest and a violent end went together'in folklore. For instance, a Merlin and Arthur story comhines inadvertent i m .Mth iirnirarement. ■

' ioi . r ■ - - ■■ ■■■ • ■ ' ■ ■ r - ' . . , . These cases are;cited in The Haunted Castle, p. 267; they are recounted in Herodbtus.: ■.' ■ *102 ■'' " ■ ■, . ■ ,. These strong tabuS are particularly characteristic of North American Indians and may apply, to members of the' same honorary elan, but not to.' blood relatives as. close as .uncle and niece. Frazer does cite an exception,- Celebes tribes among whom incest is punishable by throttling, or drowning, (li, 1311-11). ..He. f inds that incest is often thought among primitives to. blight crops, just as it did in the case of. Oedipus (Supra.- note ■ 92). ' .

^-^John Arnott MacCulluch, Celtic Mythology.: vol. Ill Mythology . - of All Racesr Louis. Herbert Gray, ed..(Boston. 1918), p. 201. Although motifs•suggesting'necrophilia, are common among aboriginal,

tribes, the combination of incest and murder that caters .'to necrophilia . is not .primeval-at all:rbut ^ ;It; was a comparatively non-

primitive .comblnatioh of.incest and murder motifs from.folklore that . helped to supply the day 'dreams of the Romantics (and later of ■Eossetti, Morris, ;andr;S^ %m.th;their typical, juxtaposition of love and 104 ■ ;, . :: ' . ': v;':. - - - ' death. At least the Rofiiahtics Werb partial both to incest and to ’ love set alongside . of death. Bice si it self ■, ■ being associated with, vi­

olence and blight, naturally led to death. . - ' ‘ ¥ecr6p.hilia,Ibbe;-.ihcest..;'that led;:tb^.xtj' '.;apd- the allied sadism that ' violence serve's are the- three Itraits which Mario Praz in The Romantic Agony includes when he talks about decadence in nineteenth-r century.

literature. Folklore of all ages and bn all parts q£ the earth is . crowded with -such themes; this is the evidence of the Motif Index.

Praz1 Romantic Agony is a treatise claiming> that nineteenth-century de­ cadence began not only with Sade but with Gothic efforts-like .The Monk.

The instances of ■decadence transmitted through.The Monk .seem to be pure •folklore. - Is this folklore, itself then decadent? : - Praz finds possibilities of increased ’’decadenceis in a. merging of folklore" motifs which, unmerged, all occur in The Monk. (He does not label them as folklore, but they are all well represented in. the Index.) Citing Villon, Pater, Heine,- and Balzac,,’he argues that the love of

' ' 102, • " ', ... . ■■ ' . . .. • . I Wordsworth must be excepted, although even his daydreams are suspect, according- to Frederick. Wiise Bateson1s Wordsworth, a Re- interpretation (hew lork. 1954). .Shelley and Byron were the two Romantic poets who gave particular attention and much space to incest. dead ladies is represented in the love of a woman in sculpture and that the paleness of the statne;. represents both the paleness of a maiden b o m from a dead .mother (in Heine 's story a buried-alive mother) and : the paleness of a needy vampire, who blends into a .Wandering Jew type ■ - ' " : • IQ 5 . ' f '' . V' ■ of femme fatale, ^ : :; ^ :hn-: ■ . Such a merging of motifs is a little different from the combina^ .tion of. motifs, ' That an actual merging increases decadence> as. Fran .implies,,;is ,an intriguing,hnt ;houbtfui i # • for the combination of love and death, its .decadence is ..difficult . to determine,, as Is evident if one. makes an"effort to compare such combinations between cultures , ; ; ••and hetween eras,; The necrophilia often . called decadent in Rossetti *3 House of Life is much less blitant and outlandish to our ears than that • of the • Seneca story, yet the latter, ^hhLch we ^ invest with traditional Indian- impassivity, and :restraint, seems to; our' society:not decadent at •

> u . . t ; ■ - , Pfaz does not name folklore and he does name the Gothic novel as a

major: source^ of' "rommtic' agony" dr docadence, But Gothic novels and the "pure" folklore forms share at least" two characteristics. In both there is a fondness of combining love; and death, and in both God has ''

been almost supplanted dn the. stage offaction by the Devil, That

' ■ 1Q 5 . . . • ; .• -I-a ' ■ h-'l■■ ■ I — ■ ■ The Eomantic Agony, pp;, 2G9-1Q, 276n. . /. ' l"^0evil. motifs.• cover■ pages. 225-257• of the. Index,- no, 108 Folklore Fellows Communications„ " In the text of the' Index under a - comparable- heading there is one motif listed for “God,11 In the index to the Index' the listing of God motifs covers. only-part of one page-.-the': small-g motifs having been eliminated (no, 117, Folklore Fellows Communications, pp. 2 4 2 - 4 4 ) Ballads sometimes, as in “James Harris“ (supra, p. 47) gratuitously, ihtrbduce the Devil in thsir' variants. - . :: / : ; : : ; : . ■ , - ' ;.67 ds?;; tKe • single Qo,ci 1ms, ■ been supplanted: gods belonging to poljrtheistic. . systems are active in much-of folklore* God is ignored in The Monk, . but the Devil is tremendous, literally so in some of his appearances„ God returns to ■the work of the Romantics and, romantic Victorians: the Devil iwith them is not pro&inent but Evil is „ And the Romantics and Rossetti (also iforris and/Surinbume to a lesser extent) are very fond / of cdmbining: lote ' tnd' the flesh %fith decay of the' fie sh, :

Such combinations in ballads doinot, at. least from a twentieth- . , century perspectivey. seem very decadent,- ■ The motif, presumably necrp- , ’ philicy o f . a ' fatal, kiss from the dead lovef"*as so popular' that it was :, - borrowed, practically verbatim^: from ballad to ballad, , / .You crave one kiss of my clay-cold lips; But my breath smells earthly-strorig; 1 / ’ If you have one kiss of my clay-cold lips, . . - Your - time will not be, long, V; ' , This speech of what is obviously a .very corporeal-ghost-'-litefally the '

' buried body— in "The Unquiet: Graved (Ghild 78) is repeated about .the ' • girl's ruby.lips or comely mouth in "Sweet William's Ghost" (Ghild 77 A ; .

and B); It is tacked, on as an endingyabout the ghost's ruby, lips, to. n . a version of "The TWa Brothers" (Child B),' Yet in ballad .form these lines seem very little necrophilic. Instead they call to mind the en- - chanting' kiss- motif ‘ of "Thomas Rymer" (Child 37 C-i. the particular " stanzas are lost from A and B), Thomas meets the queen of Elfland; then,

"syne he. has kissed her .rosy-Tips," he must go with her, .Kissing elf- - '

girls is fatal in Norwegian-(including Icelandic) analogues of "Clerk f / fy; i , .107 ,v. ''': ■ ' ' ColvLll" (Child >2)., - V .

107 : : , fr, - • Child,. I, 375o . . ;; : - ..' ' -.: %; - -' <;.'. • 68 Certain themes, lik6: incest,, violence, 'and death, do have an affinity for each -o'ther> 'Whether ih Oedipus, The Monk, or the Child. • ballads. Incest capped by loving murder is the theme of "Sheath and ., Khife11- (Child 16)a ballad quite similar in action to that of Ford's 'Tis Pity She's a Who re. In Sheath and Ihiife,11 furthermore.^ the brother "has made a grave that was lang'and was deep,.and he has buried . his sister wi her babe- at her feet:«" Ih Child-15 -("heesome Brand"), ' ' which is very close in content to VSheath and Knife,11 except for incest, the burial has become burial alive in Scandinavian versions. Child 501 51,: and 52 are all stbries of: brother-sister incest ending in suicide or murder. --x/,,

' . The Monk is'precisely like the'ballade-,in combining such'themes;: ' ': it combines Ibve, death, the Devil, incest, suffering,.violence, and literal decay. But -it- -changes the ■fplklorlstic presentation of these themes, by its insistence on lull,-: realistic,atmospheric descriptions which pander to decadent appetites-— necrophilia and sadism. . i , . . •

108 - - : ' ' v" : ' - ' ' ' Supra, note 95.. ■ . chapter V ■ ' : : < ■ . - ■ :

. "Alonzo.11 a,n example of The Monk in Post-Moiik Folklore

• Like the -Agnes and Antonia stories, ' the: "Alonzo" ‘ballad is based on revival from the tomb,; though not on the revival tif a persecuted ■: maiden.' This time the revepant is malevolent and gruesomej he.comes to ‘ punish unfaithfulness. If this ballad with its crawling wormshelmeted : skull,' .and imbibed blbod ihad hbt 'graatlsr .pleaded the ''folk,11 it . would- .

not have reappeared-in their lore „ And that'is what it did, repeatedly, . - and once almost verbatim,. - . ' : ' -

■ ''Aion^-ab I' has reappeared in: literature too, changed - from anapestic ■doggerel' into poetry. Christabsl1s "And what can ail the mastiff.

v bitch?"! (which suggests G '250. in the Motif 'Index., "Recognition of , •; witches, " and B -521.3.1a, "Bogs warn against mtches") Is probably based : on Coleridge' s recent memory of "The dogs as they:eyed^ him. drew back in' affright,". But the particular interest of the "Alonzo" ballad is that- ; it provides a rare, opportunity to observe the-transmission back into . : - ' folklore of old motifs -stemming from -a new literary production. - The • folklore in "Alonzo, " including its antecedents and. ’later history, de­ serves -a separate investigation. - "Alonzo" has reappeared in the United States in .the mid-twentieth. ; century,. handed down in families that had no idea of the written source. -'Louise Pound found- in oral, transmission two fragmentary "Alonzos" and ■ 70 one tfeat was r:Gomple'te>: ;the latter .from Nebraska, ’ Sinee the ballad can ‘ as . quickly speak f or itself as be suinmarized5 Lewis 1 s ' text appears belplri,:;■ /The' deviations from;thevoriginal ■ in Miss Pound ’ s oral version are written in. . '■

TK

■ 'V bvt>-.v-e icvAu • " ' • - A warrior so bqld. and a ryirgin so bright : . . , : : ' .Conversed,.as they sat on the green; t They gazed on each other with tender delight; 1- : AlonzoAthe4iBraYe,wasnthe..name of the knight.

' ■ ■ ■: : w.m'r^gifle... . iv- 7 :;-d; V iV ■ . . . -. "And] 11 s^

■ His treastire,; his upreseh^st- his spacious domain. Soon made her untrue to her vows; He dazzled her eyes; he, bewildered. her brain; He caught her affections .so tEfignf jand (so) vain, . And carried her' home as.his•spouse.

. y ^ ’UMonk, Lewis in Nebraska," Southern Folklore- Quarterly. -IA ''(:durie,Vi9a)-,--;lQ?"110.t.':-':: g/'.; : M A' ;' 't AugL mw:.Iiact theviaestf-blest by the pitiLesti . .: A'"'T^he:t^eyeliT1 now-vtoas begulio' . / " '. / - ' . The tables they groaned with the weight of the feast; Nor yet had the laughter and merrimeiit ceased, ' When the. bell of the castle told— -!1one ! " . • •

Then first with amazement Fair Ii^ogine found That a stranger was placed <%&%er' side: Bis. air was terrificj he uttered no sound; He .spoke ntit> he moved not, he looked not around, But earnestly gazed on'the bride. ; ' His vizor was closed, and gigantic his height; ■ . His a m o u r was sable to ' views ' - . .All pleasure and laughter were hushed at his sight; The dogs as they eyed' him drew back in uffright;.; - ■ The . lights in: the- chamber burned blue! ' t : His presence all bosoms appeared to dismay; The guests sat in silence and fear. At ‘length spoke' the bride? while she trembled^ “I pray, ■Sir Knight,; that; your ‘:heimet ' aside you would .lay, ; ' And deign to partake of ■ our chear;11

The lady is silent: the stranger complies. . His''mzbr he , slowly..unclosed: ; ■ 1- ■::.: Oh2 God! What; a sig^ Fair Imogine 's eyes!: • What words can .express her . dismay and surprise., . , , When a. skeleton's head was exposed2. . d All. present then uttered a terrified shout;. All turned with disgust from the scene. The' woidis they crept . 1% and the worms', they crept out, ■- And sported his eyes .and-his''temples about. While the. spectre addressed baogine. ■"Behold me, thou.false one2 Behold me I" he cried; "Remember Alonzo the Brave 2 ■ God grants, that'.td.p-maish^iiy; falsehood and pride „ side, ^ as bride And bear tSee away to the grave!" &o - thr&y Thus saying, ' his arms, round the lady ne wound, - While loudly she'shrieked in dismay; 'Then/'.sank with his prey through the wide-yawning ground? Nor e v e a g a i n waS Fair imogine found, •' • ' Or tke. spectre who bore/ her away. ; , ; . ■ : : ; . . . 72

:. ' Not long lived, the baronj and. moAe sin.Ge that time :fo inhabit the castle presume| . For'chronicles'tell that^ by order snblime^. There Imogine suffers the pain oftvher crime, ■ And- moumc her deplorable doom. . At midnight four times in’ each year does her spright, ' l%en-mortals in slumber are bound,,, \ ; . ' Arrayed in her bridal apparel of white, ■ ■ •. Appear inithe^hall 'with the Skeleton-Khight, . • And, .Snrieiy as he whirls her. around. . : . ' . , toile they drink out of skulls newly torn from the grave, ^Dancing -;round • them the apeotres a,re. seen?: ; : ’ ; Their liquor is blood,.'and this horrible stave ' ' . ■ They howls-•M’To the health^of Alonzo the Brave, : And his consort, the False Imogine!"

The changes are surprisingly few, but those that ■occur haVe- been ■ toward ’ simplicity, .' that is,- in the direction of making a genuine ballad. : The sung stanza (and the Nebraska family - had a tune) can accommodate, for the sake of clarity,' irregularities:in metre that .lewis would not ’

have tolerated. There is a; preference for tautology or for repeating a ; wbrd - ‘rat^r. .than?vai^hg it-; for the; Sike of a distinction, as in the , • substitution of ' "wealth11 for ’’presentsv in stanza 6 . It is noticeable

that lewis was thinking of written verses, -. never of a sung ballad,' when

. he wrote "presents, " which would have been indistinguishable- from

» ; ■ • ■... : . ' . . . ■ - -......

•' Let'Jis had been a stickler not only, for’ scansion but for rhyme and : A: .: /. ' y ' k : /k';; . . , k ' '' grammar. - For. the sake of immediate clarity "the folk” ignored two ■

of Lewis's rhymes, in stanzas 4 and 14. They disregarded parallelism

and. correct verb form in the-first.and penultimate stanzas respectively. Aside, from the virtue of increased' simplicity, Some: of the changes

110 ' - Supra, note 19. . "bhat occur-red in 'folk transmission are' improvements» - In the' first

stanza •'lady'Vused parallel to "knight". is mo re appropriate than the '' vspecifidation-.- "Virgin. "/ (it:is; assumed. in such cases that ingenues are Virgins.) And in the fourth stanza "lust" does not seem a motivation that dmogine trould suggest for herself. In. the thirteenth stanza the change from the archaic'' "thy" and "thee" is a major improvement^ since the "you"-sound is a 'more, emphatic, unlispirig means of marking.out the repetitive pattern,, The conclusion; to be . dr a m from, all the - changes /is ,, hot that "the folk" are naturally poets, hut rather that they can im- . prove any poem whose'fault is stiltedness. One instance of transference from literature to oral lore is not • enough evidence for folklorists-to. lay down rules about■the process. Howeverthere is a briefer passage (concerning worms) from ."Alonzo," to. be discussed presently, that seems to have gone oh, in the. English • •language, both into literature and into folklorej also the entire

ballad,had . entered. various European, countries to become part of their , folklore. With some difficulty these verslons might be obtained for a comparison"'of. texts./: The effort should be worth making, for, though literature is ’always'oreating.,and altering: folklore, the instances of : demonstrable borrowing like that of "Alonzo" are very-rare. //. .; ; ' The entire history of "Alonzo" illustrates the flow of literary in-’

fluence between nations', that .was. a strong current- in the Romantic, ; Movement and that never ,ceases,1 "Alonzo" was derived ih part from.

Burger's "Lenore" (which:also provided a motif for the .Bleeding Hun)^^" : '-\f ' ' v: ■:;v ■ :7 4 ' and. "Lenore" had been derived, from ’’Sifeeb William’s’,Ghost11 in Percy's

Reliques. Thus Lewis had'•borrowed.English folklore, via. a German imita­ tion which also bad Continental analogues. What Lewis produced went • 'not only from England t o .the United States but back into Europe. Eino R a i l o a ’Einn,, has; traced- ’’Alonzo’’ in Scandinavian folklore. And he made the pbservation--some years before M s s Pound's discovery--that, "The collections of folk-songs and broadsheet poetry in various

conntfies would certainly pibVide' the- material' for -a ; study of ^its cir-• culation, which went deeper perhaps into the masses than even Lenore, ,,113 ; "Alonzo" became a popular song in .Sweden, in. the nineteenth century, and Railo. found a Swedish version current in■ the. north- of Finland in. this century, "A sea-captain: '(died in ,1912) Still knew the ’ - whole poem by hearty he had learned it in his youth at Tomio, the .’Finnish town on" the Swedish border. I have heard him recite it as an

, e^cample of a dreadful song of ghosts add love. ’’ y The captain had known the translation for which, submitted as an original poem, Anders af Kullberg had won a prize from . the- Swedish Academy in-1800.- A Finnish f rahslation of "Alonso:’’ has turned up in a twentieth-centnry ' . . collection of native folksongs-, Laululioas. "Alonzo" is said to- be "an

old song: from: the days :of:the Bishop 'Agrioola," i.e.., from the .

112 . ' - . ’ ’ : . ' - ’ ' The Haunted Castle, pp. 216-47- See also Railo's documentation oh Burger, note 251, pp., 374-75. .

“ W . p . 3 7 7 . '

. : ^ % i d . , -p.: 376, ;;1V: - I I'-pi- '- h: ■ ' ' : ' ' ii5 • ■■ : • ' ■ ,v: ■. sixteenth century.■ ’ ■ There are several Finnish 'broadsheet versions of . the IbYO ’s and 1880's.,. -likely,to be titled "Aalonski ja Emueli, " In'Finland the ballad version, kn o m as "The Young Soldier1S Song" " has been very popular. In this.variant- the worms creeping out and in . . .are .retained;' they. have been- persistent, .also in American folksongs, and apparently in their rhymed pattern have no antecedent but in Lewis, " ' Ifhen worms creep "in and out,.11 the rhyme is with "about";.-when they ■ . creep-: 'feut^and in," it is- with: '^’dhin, Lewis'1 s' "twp' lines about the ' ." ; . worms (stanza 12 ) readily suggest a current song passed about.mainly among: children? "The Hearse Song," In this song- Lewis 1s order hasbeen changei to - '"out and in. " -The., shift in order and therefore in, rhyme comes about readily— as- it, were of itself j at least that is the indica­

tion .of h'World-Vai*' I valiant ■ of the "Hearse Song" which has a return -

116 - to the original order-. ' The non-military: "Hearse Song" includes, a

verse— - ' . ' '— : ,V,. : / - : ,'' - Oh, the worms crawl but and the Worms: crawl- inp ' ■ • V : . : ., They crawl all nyer your face and chin.. The military variant uses a similar pattern once; ' - Dh> the ^bugs crawl,: in and-.the bugs crawl out, - - . They do right dress and they turn about, :’i ■. . - : Then each one takes a bite or' two, . .. Out of what the war office used to call you. . 1 ■ And' then, as a. variant hestpring the "chin" rhyme in connection with

worms: . -. : y" , - -\:_- Oh, your eyes drop out and. ybu;r teeth fall in, ' ■' : ' / - .. And the worms:hrawl over your mouth abd chin. .

. . 115Xbid,, n. 3 7 7 . ■ ; h t : : - ■ - . . y ; : ' -L^John A. Lomak. and Alan' Lomax, American' Ballads and Folk Songs : (New York, 1934), pp. 556-57. " •- ^'.yy i . (The basic. ."Hearse Song1' has eyes falling out arid teeth caring in, , followed byy "Your jaws settle back in a gruesome grin,") The same' idea.as in the'' "HearSe 'Song"— "that it. won't be long before you or I / Will be rolling along in the same old hack"— is re- ; peated in a Canadian ■ story-game if or children' 'that includes the "out and

in" crawling: . . - ■ . f i: ' :';r: . , ; . An old; woiaan: went. to the- churchyard, and . ' saw a manv'ih his coffin, With worms . — : " ' crawling out and worms crawling in. She . . ; ; ■. said'to' the parsori,..."Shall 1;be like that • when I'm dead, with: the worms nrawling but ' . . ; . • ‘': and the worms crawling ' in?" v The parson : ' ; . ■' answered, "Yes I ". . (The story-teller here . . ,, raises his TOice: and seizes the child, re- . . : . .. . . • : peating,) "You'll be like that when you're i ;,: '. dead^i'iti-th .the. termsIcrawliiig out and the :': ■. ' ' ::.t; "v ; i- : ? worw-ii^awling in,;"^^ : Vf--.' ■ : v'.. v '* 1 " ■ •■If this "game" is founded on the "Hearse Song," it probably ultimately '

..received its "out and in" pattern from the "in and.out" pattern of kewls, who had .happened on,a npw, catchy wording of'the'old association

of worms with death, • Vi : ..' . ; Besides entering folklore, ..lewis's . crawling worms, in Eillen's

. opihionj, were 'reproduced in Byron's 'The Giaour ( X L 945-AS): V , It is as if the dead could feel The icy- wohms about them steal, . . And shudder, as the reptiles creep ' il r;. to revel o'er-their rotting sleep, In Lowes' opinion, these worms from "Alonzo" helped to create, .the . .• Ancient Mariner, . They are, not to be found in the poem as we know it* :

- ■ ' ' ' ■ ■■. ’ ' ' . , ■ ■» • ■ " : • F. WV Waugh, ."Canadian Folk-Lore from Ontario, " Journal of ■' Americatt Folklore, SCXI (January-March,. 1918), p, 82, .. Of the: saxmnged Ancient Marine:!? stanza. • ^ gust of iti^nd-sterte'Up.,behind. ■ . ■ %ud whistled t % d ' his bohes;- ; ' . \ : / v; : Thro 1 the holes of his eyes and the hole of his mouth Half-whistles and Mlf-groans

Lowes; sagrS, ’’The - wind whistlesarid ; groahs;:whefe Lewis1 s worms had : ■ , ,,118 . crept.11 ■ - . ■ ■; . • . " -I " .■■■"- *" ■ - - -| -j ^ . l,Aloh2o11 also: provided^: in the opiBion of Railo and Brandi, the idea of the wedding guest as auditor. • At least his attendaned,: if notv the .feast itself , was interrupted by the awesome Mariner with Atis com- pelling gaze (like Alonzo's). However, Ooleridge had.read' not only "Alonzo" when he wrote but also Schiller's Per Geisterseher, with its . ■ tale of a^wedding feast interrupted by a spectral fiance and its Armenian of the hypnotic eye. . Not only was Lewis, an influence on . Coleridge but he and Coleridge shared sptoe;of the'Same.sources. .. • Literary sources.for "Alonzo" have been suggested, just as they

Were for the Nun,., the Jew, .ahd Ambrosib«- Ritter thinks a source of the •' interrupted wedding feast,' for instance,: is Musaeus ’ folk tale, . "Liebertreue.", Like the rest of The.Monk. "Alonzo" sent its motifs ■ V into later literature. The:same interrupted wedding least,- for instance is repeated in Washington Irving 's • "Spectre Bridegroom." ' A .chart might be arranged for ('Alonzo' s" motifs,, in the manner of Chapter. III| how- , ever, in "Alonzo" there is so much needing discussion out of a con- : . centrated narrative that a chart would only add to the bulk of the ,

^ ^The Road to ianadu, pi 561. . 119 . - ■ . ' - , ■ ' ..: ' ' ■ . . The Haunted Castle, p. 255; Samuel .Taylor- Cole ridge, and the English Romantic.School. p. 203. study, not curtail or simplify it. Otto fitter, an indefatigable source namer, considers'.•the- wax ,1 %, .image in Udolplio the principal source for "Alonzo’s" Worms, and, as an .. antecedent to that, the non-Wormy skull in a helmet in Otranto. ■ Be­ sides these he mentions "lenore"' as providing a precedent for the : .death's-head. But he does-not look to.the sources of "Lenore." Burger's immediate source w a s .in Percy's Reliques; besides, the "lenore" story has been prevalent in Continental folk tales for cepthries. its presence has been: traced in three articles in/the Finnish magazine ■. Valvo.ia (all titled "Murheen voima" C-The Power of SorroWj). ' One, by ' J. Bieber,'. came' out in 1900,.. the other two, both by Eliel Aspelin, in . v 120 • . .. • ' - :" .'i' 1882 and 1883. . The earlier.articles deal particularly with the theme of Death riding in the moonlight; the other more specifically con— oerhs "lenore.A . v : l.-'': '-"r / . ■ Death, has commonly been symbolized by the worm; literature is close to the folk on what might be. termed the "lore of the worm.11 "Alas," . says the Jesuit'.in Westward'Ho!, "that - so much. fair red and ' white should have been created only as a feast for wormsI;" ' Each figura­ tive mention of the worm seems a direct harking to folk concepts. • Job JOffiT, 20, reads, MThe .womb .shall, forget, him; the worm' shall feed sweetly on him; he shall be no more remembered." Shakespeare's Richard H says, "let's talk of graves, of worms, and epitaphs" (Richard II, ..

Ill, ii, 145). We hear from Rosalind in As You Like It (IF; 1, 110) .. . that, "Men have died from time to time, and wofms have eaten them, but

See. The Haunted Castle, p.. 375. ■ for a Summary. not for love.,11 And, Shakespearev.wrote,.in the 71st Sonnet, ■'.. • .'.T. Np-'longer mourn for me .when. I am dead v ; v ' / Than you shall hear the surly- sullen beli •: /' ’ live warning to the world that I am fled / / . ' Prom this vile/ world/ with vilest worms to dwell. . ' These qudtations show the expectation: of/ ready .'apprehension of a popu- •. • laiq universal conce.pt, ,-;Lew±s himself exploited this concept, - He/had a propensity to make worms /symbolize ^ the /macAbre /and. therefore. he used . them to emphasize it. Their role in the sad fate of Agnes and her.babe, makes "Alonzo!?, by comparison seem restrained,.,! . v . f /Shakespeare^ the Bible, and.folksongs share the ability— which •' Lewis had not— to make beautiful phrases; about worms, This is in spite

of the fact that wormy death., except in assoeiation vlth' the 'soul '-s sur­ vival, is unspiritual,' ¥orms in the Child ballads are a reminder of

the corporeal nature 'of the' ghost-*-of ' its being /a/ decayed; .coipS'e*-~and ;. so indicate a. folklore that is. ultimately pagan, only, superficially

Christian. These walking bodies speak their condition with matter-of-fact pathos. "The wee worms: are my bedfellows, / And cauld clay is hqt .'

sheets," says the brdther' s ghost in "Proud Lady Margaretif (Child 4 7 A) ,,- and the sons of the Wife of Usher' s Well (Child 79 A) know they must re-.

turn to where they lie because., - "the channerih worm doth chide." Sweet

William's Chost (Child 7 7 - B ) tells his./condition, which is very much like that 'described: in ''Proud. Lady %rgaret'';« " "pown among the hongerey worms I sleep," and: "Gold meal is my covering owre, / But an' my . ,' winding sheet, "/fJh .the /''?". ver^ by Nargaret,' , ,'"0 wherein is your bonny armsj - / That Wont to embrace me?" . v .' ■ . - ; , 80

, "By,worms they're eaten, in mools they're : ■ ' rotten, : - Behold, xiargaret, and. see, :' . ■ And mind, for a 1 your mickle pride, ■: . - , . ■ Sae will become o theei" v

.Thus in an ancestor of "Alonzo" appears the "you too" message that was revived in the ."Hearse Bong." This Sweet William1s Ghost was the grandfather- of Alonzo. ' "Lenore,11 the' intermediary, also contained echoes of "The Unquiet . . Grave," "Fair Margaret and Sweet William,.‘Millie's.; Fatal Visit," "The Elfin Enight, " and "The•. Suffolk Miracle" (in''Ghild respectively nos.. 78,

74p 225, 2, and 272). ' . ' V v - . "- .V-: The motif of a dead lover‘s return to punish unfaithfulness .Was so

:' popular, or so cemmonplace, that it might bey transferred ^f ibm. ballad'..to ballad. An Ameriean take-off o n : "Lady Alice" (Child 85) contained this stanza with the subject matter of "Sweet. William' s Ghost"s > : . : ■ . The' Ghost it Said all'-solemnly, • . .- - ■ •'.8.- "Oh, Molly,, you must go with I, All to the grave your , love to cool." : - , • 8 • Says she, "1 am not dead, you fool," . : . ; , • Says: the Ghost> says'he, ' "Fiej that's he rule. "

. Another burlesque on the subject,-' a li'terary one, was Irving's- "Spectre ' Bridegroom." And a folktale named:,."The.-;,Spectre Bridegroom," almost. _ identical with "Sweet William's Ghost," was recorded by Hunt in his ; Bomances with the comment, "This story bears s, striking resemblance to

•the ■'Lenore' of Burger, which remarkable ballad can scarceiy have found ' 122 ' ■ ' - ' its way, even yet, to Boscean." . . -

. "Giles Scroggins," quoted in Dorothy Scarborough, A Song Catcher in Southern Mountains' (Mew. York. 1937), p. 122. "P. 239c : ' -"' 'v; : '8'’ ■ ■ (-1.-8 -, . . . ' 81 ■ Vindictiveness like Alonzo's was g.n attribute likely to be. added to any ballad ghost:, Child discusses the wide European spread of/ - ,;; ■ analogues of the "Suffolk Miracle" in which the-ghost', is a rude3 re- • sentful one,' ; In some,texts of "James Harris (The Daemon Lover)" ’. h (Child 243). the revenant is vengeful; in one version (0) he tells exact­ ly what he has done: "I brought you away .to punish you / For/the break­ ing your: vows to, me, ahd': he explains to' his sweetheart that he is about to drown her. In another version (F) he tells the girl he is taking her to hell. • ' ’ ■ Mary Shelley-and Byroh 'have eadh 'desdribed. a folk tale they heard from Lewis In 1846.: Byron calls it the "original"- of “Alonzo" and says . that Lewis, “almost believed it by telling. " “Mina, I am here, “ cries . the•vengeful ghost at the ball, about to cause his sweetheart to drop

Skulls— vindictive; or nbt and'wom-eaten or not--have been quite- popular in stories as replacements for humans. Just as when he/wrote . ' about magic blood and vengeful revenants, Lewis was- using a sort of • universal: . source material when .he gave' Alonzo a death ' s-head. A " Merican-Ame'riean folk tale recorded in Tucson in 1956-uses a skull-head ■ '. 125 , ' . ■' id;-.:. y; /' under, a .rebozo for it’s climax. And in Tlingit iegend there was a .

^ 6 0 ,, ; •' - ; ' ' . 12^Mary Shelley's Journal. Frederick L. Jones, ed. (Borman, Okla., 1947), p. 5&h Journal of the.Conversations of Lord-Byron, pp. 187-89. ^^Record 131, University of Arizona Folklore Archives. The story is told by ..Marciana Rejdn and recorded by Magdalena Diamos. This tale is set in Guaymas, • but- in the same interview mention is made of a ■ chief's daughter whose fate /it: .was to marry a revenant whose skull she . , Jaad accidentally .kicked. To her he looked like a handsome-young man3 but ey#rydne else could.see that his head.was just a skull. - , ' Longfellow.'5 "Skeleton■ in Amor" -comes to mind as a possible L" - descendant of "Alonzo, "■ Perhaps there was some connection3 if "Alonzo" .. . - helped.make the popular story of the "Fall River skeleton, " .which gave' , ' . ' Longfellow the idea of hfs poem. The bones in this case were real -enough and had been found buried' (like any good Indian’, .skeleton). with' a' - y . supply of - arrows „ But local opinion had the remains wearing European . ' - 127 . . ’ armor. - ' ..v'Lk :''- . : -v- -- ; ■ -v - - : . ' ; -' ■ - Other borrowing from "Alonzo" is. not: difficult to propose. Shelley rs , juvenile "Revenge,11 for instance,- .-combines parts of the Agnes-• : . story with the ending of "Alonzo/" Lnogine's interrupted wedding feast,

■V; Railo ::t.Mnks,' has. echoes ;in- Scott 's Marmion and The Bride of Lammermoor,' in Poe's "Masque of the' Red Death" and "Shadows A Parable," and in. - ' ' 128 ' ' ■ - Byron's Lara and Oscar of Alya. . But■ the interrupted feasts have. : grander: antecedents than "Alonzo"j there is, for one. Sir Gawain and .

the GreenKhigfet.: - And generally the knights of the Table Round would

similar event said to have happened on - Campbell Avenue in Tucson. Record. l3'2 of the Arizona Archives has a similar Mogales story,. "El .Ehcuentro del.. Sr. Pimiehta eon el Diablo," related:to Miss D'iamos by a . - University of Ari zona - .student, liargo t; Rio s 1 : t . John R. Swantbn, Tiingit Myths and Texts,, Bureau of American . _ Ethnology.;Bi^letin. 39((ifeshingtoni. 1909), pp.. 247-18. . Henry Wadsworth: Longfellow, Poetical Works (0arabridge. .1895), . -u;.3iL-i^;:; .v, -:i'. ^ p .-:.: - ^^ : ■ ' p.; ■ • ; : ,

1^%he.diaThated. OastleL Po l r-25^55'd 257-581- ' ; - : : . . . d. ;. : sit their-1 waititigr Jbr >,ome:'adventure; to interrupt them. , • After he read The Monk ■ Byron, did not write a poem about monks who, like ^ogine -and the ■ Skeleton,: ;drahk.'Out of skulls in a stony castle. If he ^ had - written" such- a poeA), . hi-s - "bo rrotiing" would have been often cited. ,But Byron and his 'friends, just out of' college, use,d,to. go to V NeWstead Abbey,.,dress up in monks 1 costumes Byron got ’ from a masquerade - house,:and pass around a human' skull that Byron had polished up for. a ' cup. This may haye, been, an atteiipt to put The Monk1 s motifs back into

folklore--rather, into life.--but ; Byron, never explained it as anything '; mpre than post-graduate: jollity.; /,/: ' ;-1":; . , - . ■ ’ ' - Such goihgs-on were also a display of Byron1 s well-known Satanism. Lewis’s Satan Was not essential to'making Byron's the "Satanic School" of poetryp yet, one may allow that it did- contribute its influence. The Monk-was so:popular and went into so.many editions that’it must have' 1 helped;.'popularize even the well-known Lucifer. In the "same way, the • folklore1'.motifs, used in "Alonzo,"- must have been reinforced by their repetition In Lewis's ballad, which was reprinted, imitated., and , . - parodied;numerous times. Thp listing,of.these motifs below shows ;that' Lewis ' s sources in folklore could have been anyone1 s sources and. that therefbth 'borrowing from'Lewis, when it occurred, was merely. ' faking old -lo.re.. where, if Was .most ac.cessible..; -

129 ." ■r'- i -’ ' v'V .;. ; v-:'t ' :Yflf \ . • - : ' 'I t . , . p ■’ - . Thomae: lloore. .. Letters and journals of Lord: Byron with: Notices ■ of His .Life (London. 1830). I, 126-2?. ’p

Roman terrifiant, pp., 145, 147, 150-521 "Monk Lewis in . - Eebraska,'." pi 10B^ f’Alpnzo’.'- 'was' reprinted by Lewis in Tales of Wonder and parodied by him -in a footnote to the fourth edition of The Monk. Lewis's original contribution was ,his dwelling on'the’ macabre<, This emphasis was transmitted^ in Praz1 opinion, to the necrophilic and sadistic stories of Foe.,-. Gautier,, and Flaubert and to Romanticism generally.' The contribution was-Lewis's and not folklore's because an ; abnormal■ pleasure in grisly details does not seem, a •characteristic of; F folklore' as 'reprbsented in these Alonzo" motifs (which are typical of The Monk generally). Practically all of them stop short: of::the macabre as, an end in itself.- Motif captions are, of course, a bare statement of fact,'but the folk ballads that incorporated them are much- more ■simple,' subtle, and. re strained than’Lewis's ballad. The motifs that are related to Alonzo's story follow.

• E '415. -Dead cannoi rest until certain work is finished; v . '■B 210. Dead lover's. malevolent return; E 217.. .Fatal '. kiss from dead; E -266. Dead carry off living;- B 493.. Dead men. dance; . 32 ,215> The dead rider (Lenore);.. E 211. • Dead sweetheart haunts'' faithless' lover; J 1564.2. Re- • ' venge by interrupting feast; E 422.1. Body of living corpse; • -D 2071. The evil eye; T 150. .Happenings a t ': -weddings; T 92.1. The triangle plot and. its solutions; T 111. Marriage of mortal and supernatural being;' " E 474. Cohabitation of living person and ghost; D 733. Loathly bridegroom; K' 1371. Bride stealing; N 681. Husband (lover) arives home just as wife (mistress) is .' ' ' ' to ^marry, another; E 4.#;„3V: Siie bf: Seyenant;-; v E 501.11.2.3. Wild hunt'appears on feast - days; . -E 501.8.1.. Wild Huntsman dressbd dn black; E 591. Ghost travels underground;. • K 1517. Lovers as pursuer ■ and fugitive;-’' K 1816.0.3.1. Hero in menial disguise i ' at heroine's -wedding; . E 461. Flight of revenant with ' , living person; ,'E 238. Dinner With the dead. Dead- man is - invited to dinner'. Takea his. host to . the pther . wbrld; . C 954. Person carried'off to'other''World for breaking ,tabu; 0 13. The offended skull (carries off its host); - Q ’415.3. Man eaten by worms as.-punishment; E 585. Dead . person visits earth periodically; ’ E 587. Ghosts walk at certain times; E 250. Bloodthirsty reyenants; E 256. , • Ghosts eat corpse; D 712.4.1.; Disenchantment by drinking blood; D ’1041. Blood as magic drink; 'H' 1434i Fear tests eating and drinking from skulls; . Q 491.5..Skull used as drinking' cup. . ' 1 ‘ CHAPTER VI

. ;• .'Vl ' Conclusion

One inespaipable conclusion of this pa^ei is that there was. a-large amount of folklore in The Monk; this was never in dispute,. Yet the ■ evidence that is assembled/ here is surprising, because of its amount ■ and because of its concrete nature. ^nd the' obvious f act that there .was a great deal of folklore -■ in The Monk is. at ■ this stage of Investi­ gation, a significant ;one. ■’ Interpretation •is less important than in­ formation in' beginning- the' study of .an unexplored topic— which, in this, case' is the Interaction beiSeen. folic tradition- and literature the de- ' liberate' art. ’ - '-V ; •; ... . . V-' •, ■ ! Ay definitive. Study, of the problem will some- day be written. One difficulty in making the definitive study-r-aside.from lack of data--is the lack of definitions. "Literature" is a word’ of various 'meanings.' and "folklore", is never to be\' clearly distinguished from it, since at times each seems a form of the •'other.; the folk tale' in, its origin was the first attempt to makei a .stofy^ -literature; as, we know it' isy , in.

a sense,,, a form-.of folklore; And when a folk ballad has the’ artistic value of' literature ("literature11 in the ' sense of an aesthetically re^’1 fined product), we say that a particular piece .of folklore is a form of

literature. "literature"' itself may refer to. words combined with a height of artistry,, as. distinguished from mediocre productions; or it may mean a written work at any artistic level, to .be distinguished, from - . . . ' ' ; ' - what'is in oral' transmission. :And' "folklore,11' to confuse the picture, is not-always in oral transmission itself« ('Written foliklore" is one branch of the subject and includes sdch things as■ broa.dsheet poetry and circus bills.) It is a. problem in‘semantics to.determine the inter- . . relation of two-media that are, in part and by' some d.efij^tiohS., .the

same. . , • : 1 - -, The main problem, that, of assembling data,' will' be met in:time^ The principal work of folklorists now is the gathering and classifica­ tion of folklore. A major - step/ is : the .Completion of-.the: enlarged'- Motif ■ Index by Stith Thompson, already partly published but not available, when this paper was written. Since it more than doubles the number of citations, its immense contribution to studies like the present; is ob­ vious <; For meaningful generalities about .how folklore invades litera­

ture, and -vice versa, a large, assemblage of concrete instances is needed. . . •: ' ' • ' ' 1 ' Besides contributing some of,these instances, the present paper has raised some questions that cannot be answered with any authority . until more evidence has been gathered. There are the problems, of. ' knowing how literature-produces or alters folklore and how folklore

changes■a literary concept or. makes literature. Harriet Beecher Stowe 'is, said to have created the' legendary,, popular idea of' the- American - Negro. . When literature, creates folklore.the fact is very, hard to demonstrate, except when there, is the evidence .of form as well as:con­ tent, as in ballads, proverbs, and possibly riddles. - .

V • We can now only say vaguely of Matiida; that' :the condhct . ah'd :' '

character of this demon-woman have been formed by a combination-of folklore motifs and that, emerging 'itito other -literature,' Matilda1 s succuba type seems to have, been expanded/and redefined in the.process.

With more data we might be able, 'to - say specifically that levti-S made - clergymen .in literature become ..more vulnerable to vti.tchrs.:Miles» ..Or" folklorists might find that lewis had so/.relnfonced the corporeity o f ' ghosts that death's-heads replacing human escorts enjoyed a sudden popularity. A more significant pponpuncemdnt; m be arrived at on the matter of decadence, if there were adequate data to work with. Is literature, by its folkloristic origins and therefore by definition, a vehicle, among other things, of decadence? Also,.by a comparisoh pf folklore with literature it should - be possible" to arrive at their common ground.of content and form'and so to determine what, if any, are ■ the essential satisfying'attributes that, men have always Wanted in - their stbrle%- \ /;'v; : .:;v ; - v : There have been questions settled a.s well as left unanswered1 in ■ this paper.' All that was heeded was^ a .few; e^a^pies--not complete data— to show how folklore has confused’ the scholar's problem of sources and

the problem of defining plagiarism. ' If a folklore . character has;- apy - peared in literature (as the she-devil appeared in Cazotte), its re­

use is not plagiarism; Even if Author B. has read Author A, the-pre­ vious literary appearance does not need to prove borrowingat .all, ‘ There is yet no adequate recognition among students that .'folklore has complicated their problem .of sources by being ubiquitous and in the public domain. Perhaps because the-printed word is stable and e&sy t o . cite, the use of a folk tale out. of ah early anthology is called ■ - plagiarism, though the same material transmitted tiy word of mouth is .recognized as universal property. Ghristabel has shown how follclore may provide poetry with its raw. material. The Monk has -shown how the Gothic novel was important as the vehicle of transmission, from folk tale-to Ghristabel, . But the Gothic novel's use of this folklore has a -significance in itself. It, was itself. a part of the' restlessness and reaction that produced the. Romantic Movement, For the literary gentry— the, haute monde of literature—-this Gothic .use of folklore meant a probing of the elemen­ tal and an attempt to surpass the confines of the ordinary, daylight, eighteenth-century world with its physical limitations,; convention- ;. . ; i •alized ethics, and laws of style. The Burkean promotion of vastness, infinity, and disorder was crudely exemplified' in the Gothic novel. Gothic novels represented also, with their stress oh. evil ahd;Satanism,.' a moral revolt, FoIklore-.-in'' which' the. common people had been con-. ■ staritly immersed— furthered such reactions, and' the .familiar folkiore ' ' ■ served up in the Gothic novel was what the newly literate' could buy in book- covers, ' Thus on many counts besides that of being a 'useful: re- - pository, the Gothic novel in its absorption of folklore should be analyzed b y students' o f ' Romanticism^ . V Vi ■ . . ' ,

. Generalities about .the .nature.’of Ttomant revolt are hard;, to prove. One would learn-'iHuch about Romahticismnrand be"\able to prove one 1 s conclusions— by determining exactly which elements . out of folk- •: lore were sought by the Romantic Movement; dnd. which ignored. But What is, needed is more classified data on folklore',and a close analysis' of . ■ '

Romantic literature-. It would be possible, for 'instance,. to. learn . ... ' : : , ' . . : ; . ; M ,:8z#Qtly how popular, .comparatively, .• we re motifs suggesting sadism ’and ; necropMlia. ■, tod. a critic M g h t deterNLhe-.to his own satisfaction which, ideas from*-folklore (perhaps that ghosts walk at midnight— . perhaps that doge can smell a witdtotoerhaps that a" mother kills her ' children) are the most compatible wito poetry.: ' BIBLIOGRAPHY

: : ' ■ . Books . " ' Aame, -A.r A,, and Stith Thompson^ The Types of the Folk-Tale, • Folklore. Fellows Goimpnlcations po. 74- Helsinki, 1928. . An Alphabet, of Tales. "Early English Text Society, nos. 126-27- Edited ‘ by Mary: Macleod Banks.' London; R. Paulj Trench, Trabner, . 1904-05. ; : ' : . Anderson, -Maxwell. Bad■Seed. A dramatization of William March's novel. The Bad Seed. Hew York: Dodd Mead, 1955.' Bailey, Philip James. , Festus, a Poem.. London; G. Routledge, 1893. Baker, Ernest Albert. : History of the English Hovel. Vol. V. London; ■. . H. F. and G. Witherby, 1934. ; Baron-Wilson. Margaret. The Life and Corre spondence of M. G. Lewis. 1 . . 2, vols.y Londons H. Colburn,- 1839v l ; . Bart one, G. •' Fra. 11 Vo to e- 1 'Amo re; note critiche sul Monaco del Lewis, sul Templaro dello Scott, 'sull1 Arcldiancoho dell1 Hugo, sull1 . - Abate dello Zola»' sullo Scorpione del Prevost (Naples, 1908).

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