PDF-Bücher The Monk: A Romance, by Matthew Lewis

PDF-Bücher The Monk: A Romance, by Matthew Lewis

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The Monk: A Romance, by Matthew Lewis

PDF-Bücher The Monk: A Romance, by Matthew Lewis

Es gibt viele Bücher, die Kandidaten in dieser letzten Zeit zu prüfen sein. Dennoch kann es schwierig sein, damit Sie sie in der gleichen Zeit zu überprüfen und vervollständigen. Um dieses Problem zu überwinden, sollten Sie das erste Buch wählen und auch Pläne für verschiedene andere Publikationen zu lesen ist nach Fertigstellung. Wenn Sie so verwirrt sind, empfehlen wir Ihnen The Monk: A Romance, By Matthew Lewis als Lese Ressource zu holen.

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Produktinformation

Taschenbuch: 164 Seiten

Verlag: CreateSpace Independent Publishing Platform (18. März 2014)

Sprache: Englisch

ISBN-10: 1497376580

ISBN-13: 978-1497376588

Größe und/oder Gewicht:

15,2 x 0,9 x 22,9 cm

Durchschnittliche Kundenbewertung:

5.0 von 5 Sternen

2 Kundenrezensionen

Amazon Bestseller-Rang:

Nr. 276.814 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

es ist ein sehr gutes buch eben in einem schwierigerem englisch man muss also schon etwas übung mitbringenaber es ist auch eine sehr spannende geschichte über Tod, Liebe, Glaube, usw.also all die themen aus denen meisterwerke geschaffen werdenund dieses hier war ja damals ein skandalbuch

"He remained for some moments devouring those charms with his eyes which soon were to be subjected to his ill-regulated passions. Her mouth half-opened seemed to solicit a kiss: He bent over her; he joined his lips to hers, and drew in the fragrance of her breath with rapture. This momentary pleasure increased his longing for still greater. His desires were raised to that frantic height by which Brutes are agitated. He resolved not to delay for one instant longer the accomplishment of his wishes, and hastily proceeded to tear off those garments which impeded the gratification of his lust."Dieses Zitat stammt aus einem Buch aus dem Jahre 1796. Und derjenige, der die junge, schlafende Frau mit seinen Blicken auszieht ist ein Mönch.Man könnte sagen, dieser Roman ist der Skandalroman des Jahres 1796. Es gab drei Auflagen, die schnell vergriffen waren, die vierte Auflage lief dann nicht mehr ganz so gut, weil der Autor gezwungen war, alles was blasphemisch oder sexuell anzüglich war (also die unterhaltsamen Stellen), herauszuzensieren. Das fanden die Leser nicht ganz so toll, was die Preise der unzensierten dritten Auflage in die Höhe trieb.Aber fangen wird beim Anfang an. Um was geht es in diesem Buch. Natürlich um die Liebe, wie in jedem guten Gothic Roman. Nur hier ist geht es wahrlich nicht so sittsam zu, wie man es kennt, sondern eher ganz normal, so wie heute. Man könnte das Buch fas für ein Buch von Philipp Vandenberg halten, hier wird mit Herzenslust Kirchebashing betrieben.Don Raymond liebt die kleine Schwester Agnes seines Freundes Lorenzo. Dumm ist dabei nur, dass Agnes Mutter, als sie schwanger war, schwer krank wurde und das Kind dem Klosterleben geweiht hat, sollte sie überleben. Agnes ist aber so gar nicht für das Kosterleben geschaffen. Sie liebt Raymond und die beiden wollen durchbrennen. Agnes will sich dafür als der Geist der blutenden Nonne verkleiden. Schlechtes Timing führt dazu, dass Raymond mit dem Geist durchbrennt und Agnes im Kloster landet. Nachdem Raymond so einiges tun musste, um den Geist zu beschwichtigen stöbert er Agnes im Kloster auf und sie wird schwanger. Nun ist guter Rat teuer, wie bekommt man Agnes wieder aus dem Kloster?Währenddessen liebt Lorenzo Antonia, die Tochter des Halbbruders seines Freundes Raymond. Die Ehe von Agnes Eltern stand unter einem schlechten Stern, da Raymonds Vater nicht damit einverstanden war, dass sein ältester Sohn eine Bürgerliche ehelichte.Agnes steht sowohl auf Lorenzo als auch auf den charismatischen Mönch Ambrosio, aber letztendlich doch mehr auf Lorenzo. Matilda jedoch steht so sehr auf Ambrosio, dass sie sich als Mönch verkleidet, um in seiner Nähe zu sein. Sie verführt Ambrosio, die beiden haben eine leidenschaftliche Affäre im Kloster bis Ambrosio doch lieber was mit Agnes anfangen will. Das ist nicht so einfach, wenn man Mönch ist.Dieses Buch hat alles, was man sich so als Kirchenverächter wünscht: Mönche die sich in das sexy Abbild der Gottesmutter Maria verlieben, schwangere Nonnen, Vergewaltigungen in unterirdischen Grabanlagen, Sex vor der Ehe, Mönche, die ihr Dasein als Wegelagerer fristen und die Ehefrauen toter Kameraden zwangsehelichen, Geister, Klöster, Schlösser, Unterirdische Gänge, Teufelsbeschwörung und Teufelsanbetung und das alles 1796. Der Autor ergeht sich in der Beschreibung von Tod und Verfall und steht besonders auf die grausigen Details. Da wacht die Heldin schon mal aus ihrem Drogeninduzierten Koma in einer Gruft zwischen modernden Leichen auf, eine andere hält ihr Totes Kind solange in den Armen, bis es verwest und dann dazuwischen lakonische Sprüche wie 'Men have died, and worms have eat them; but not for Love!' Das ist auch heute noch sehr unterhaltsam zu lesen, wenn man darüber hinwegsehen kann, dass die Charaktere teilweise doch sehr ähnlich und austauschbar sind. Ich hatte permanent Probleme die Figuren anhand ihrer Namen auseinanderzuhalten, weil sie sich so ähnlich waren (bis auf Ambrosio und Matilda (später)). Und auch die beiden Freunde sind zu ähnlich, zu farblos, zu charakterlos zu edel und treudoof.Dennoch unterhaltsamer Lesestoff solange man ihn nicht zu Tode interpretiert, denn natürlich haben sich die Gelehrten auch an diesem Buch wieder rechtschaffen abgearbeitet. Da wird dann palavert, dass es so viele Parallelen innerhalb der Geschichte gibt, dann ergeht man sich in den Regeln des Gothic Genre, um zugeben zu müssen, dass der Autor lustvoll mit diesen bricht. Irgendwie muss man wohl rechtfertigen, wenn man in der Arbeitszeit unterhaltsame Gothic Novells liest und schreibt dann halt Artikel zur intellektuellen Selbstbefriedigung.Das sollte einem aber nicht den Spaß nehmen das Buch zu genießen, denn die Katholische Kirche kommt so wunderbar schlecht weg.

"The Monk", which earned its author considerable notoriety in his own life time, is one of the most famous and popular examples of the "Gothic horror" genre. Not all literary critics have appreciated it; G. Saintsbury for instance considered it a low quality imitation of Mrs. Radcliffe's work in the same genre. The whole thread of the story is so improbable as to be actually absurd, and the author ultimately has recourse to magic to release himself from the more complex entanglements in which he involves himself.Besides, the novel takes a decidedly libidinous tone throughout the entire plot, which hinges on uncontrolled lust, broken vows, and vile treachery; not to mention--religious hypocrisy. Still, it is not without its virtues; firstly, the book does at last assume a tone of moral instruction, and the conclusion is not unaffecting. Secondly, the suspense is kept up not without ability, and the very extravagance for which it is reprehended will itself recommend it to more morbidly imaginative minds.In short, the book is macabre, in more than one way grotesque, but the product of a luxuriant and evocative imagination. I give it four stars, in consideration of the above faults.

The Monk (first issued in three volumes in 1796) by Matthew Lewis (1775-1818) is one of the pinnacles of the Gothic literary movement.Given the age of the work, The Monk is surprisingly highly readable yet today and Lewis opens the book with a stunning contrast. Crowds have gathered in Madrid for the third sermon of Ambrosio, the abbot of the Capuchin monastery. "All who have heard him are so delighted with his eloquence, that it is as difficult to obtain a place at church, as at the first representation of a new comedy... he is known through all the city by the name of The Man of Holiness."The reader's first indication that Ambrosio is far less than the faultless person the general populace imagines him to be comes from Lewis' sly description of the man when first he appears to deliver his sermon and the narrator states: "there was a certain severity in his look and manner that inspired universal awe, and few could sustain the glance of his eye, at once fiery and penetrating."Following an acclaimed homily to the standing-room-only crowd, Ambrosio "was no sooner alone, than he gave free loose to the indulgence of his vanity. When he remembered the enthusiasm which his discourse had excited, his heart swelled with rapture, and his imagination presented him with splendid visions of aggrandizement." But there are far worse qualities than pride lurking within the recesses of this holy man's being.In the early pages of The Monk among the members of the crowd clamoring to hear Ambrosio speak is a young woman, Antonia. Having just arrived in Madrid with her aunt to seek financial succor from relatives, Antonia quickly comes to the attention of a cavalier, Don Lorenzo, who pledges to be of what assistance he can be to the young woman. Lorenzo finds the young woman's "artlessness" and "innocence" beguiling, but unfortunately, he is not alone in his attraction to the young woman. Another, however, does not have the same benevolent intent toward the woman as does Don Lorenzo.The structure of The Monk is quite intriguing. Rather than present readers with an evil, hypocritical figure to begin with, Lewis makes Ambrosio a vulnerable character who suffers a fall--a fall reminiscent of that of Adam and Eve from Eden, complete with a central role for a poisonous viper slithering in the foliage. The source of Ambrosio's temptation comes, initially, from an odd choice--a novitiate at the monastery, Rosario. Generally keeping his face hidden, shy, reclusive, and at most times melancholy at best but intensely worshipful of Ambrosio, Lewis' revelation of the truth about Rosario and his eventual fate is both melodramatic and the kind of revelation that would have readers near the end of the eighteenth century shocked and in some cases appalled. Such elements, however, obviously led to the novel's great popularity and success, scandalous though it may have been.Like the most successful of writer's today of thrillers, having totally captivated his reader with Ambrosio's opening collapse of values, Lewis shifts gears to a totally different set of characters and events to move his story forward. With the stated intent of revealing how Don Lorenzo's sister, Agnes, is installed in a convent, Lewis spends numerous pages providing his reader to a rambling but eventually connected set of exploits. At the outset is a narrative by Don Raymond, the Marquis de las Cisternas, who tells his companion, Lorenzo, about encountering sinister, murderous banditti waylaying innocent travelers. It is a tale of blood and intrigue that rivals, but predates Daphne du Maurier's Jamaica Inn by 140 years. As extraordinary as this portion of Don Raymond's account is, Lewis has his narrator surpass himself with a whopper of a ghost story about a "bleeding nun" that walks the halls of a German castle in Lindenberg with a conclusion that is as likely to rivet and creep out readers as much today as it did in 1796.In Chapter IV of The Monk (which begins Volume II) Lewis introduces the character of "the Great Mogul." This man of mystery with knowledge of the supernatural and "a burning cross impressed upon his brow" proves to be none other than the infamous "Wandering Jew" in one of the character's earliest appearances in literature. A figure from thirteenth century Christian folklore, the Wandering Jew, according to legend, taunted Jesus on the cross and in turn was cursed to forever wander the earth, incapable of dying or staying in any one place longer than a fortnight until the second coming of Christ.With the life story of the "bleeding nun," Lewis' imaginary tale achieves new heights of explicitness for the times. Her's is an outrageous tale of sexual promiscuity and murder that includes criticism of and a condemnation of women being forced into convent life at too early of an age. Her tale is made all the more shocking by the fact that the phantom's actual name is Beatrice. Ironically, Beatrice means "she who blesses" and in Dante's The Divine Comedy it is Beatrice who guides the poet through his journey in the last four canti of Purgatory and through the work's final volume, Paradise. Lewis' Beatrice is far from a divine figure (in either her living or dead carnation), but without question the narrative from the "bleeding nun" certainly adds a chilling as well as titillating and scandalous element to The Monk.In spite of its age, there is nothing dry about The Monk. Lewis keeps his plot, even when it appears to digress, interesting and along with the sex and immorality to be found in the story, frustrated romance plagues a couple of his male characters. In Chapter V Lewis heightens the novel's tension by focusing upon the evilness of a character that until that point is a minor player, the prioress of the abbey. While upping the character's importance to the story's plot, Lewis reveals that she is "haughty, inflexible, superstitious, and revengeful... Though naturally violent and severe, when her interests require it, she well knows how to assume an appearance of benignity."Having kept Ambrosio off stage for nearly one hundred pages, Lewis resumes the monk's story and fall from grace exactly where he left off. It would be tempting to assume that Lewis merely has Ambrosio's fall from grace due to the woman who seduces him (which would reflect a typical misogynistic attitude of the times). However, Lewis properly assigns fault to the monk himself for adding "hypocrisy to perjury and incontinence." For a short while Ambrosio is a conflicted and tormented character, but lust quickly wins out. Worse, "frequent repetitions made him familiar with sin, and... The monk was glutted with the fullness of pleasure. A week had scarcely elapsed, before he was wearied of his paramour." Thus, Ambrosio begins to set his sights upon "another mistress with whom he could indulge his passions."It is easy to see why The Monk generated as much scandal as it did. The sexuality and human evil depicted in the novel including cold-blooded murder, kidnapping, imprisonment, multi-layered deceit, rape, and even an attempted rape (of an unconscious virgin) had to have stretched the limits of tolerance beyond those for many of Lewis' contemporaries. Adding to this, the inclusion of supernatural forces at work successfully corrupting figures who are allegedly devoted to a religious life as well as attacks on church institutions would have been enough to tag Lewis and his novel as sacrilegious.The influence of William Shakespeare is evident in The Monk. Lewis begins each of his chapters with quotations by famous writers to set the tone for each chapter and Shakespeare is quoted more than any other with tellingly appropriate quotes from Measure for Measure, Two Gentlemen from Verona, Macbeth, and Cymberline. Sprinkled throughout The Monk are ballads and pieces of verse written by Lewis used as diversions or as foreshadowing in the Shakespearean tradition. More importantly, however, Lewis is quick to adopt some of Shakespeare's more melodramatic and popular plot techniques including confusing the identity of the sex of characters, the appearance of vengeful or seemingly vengeful ghosts, and more deliberately, the utilization of "a juice extracted from certain herbs" that would make Friar Laurence from Romeo and Juliet proud; an extraction "which brings on the person who drinks it the exact image of death."Lewis's plot in the last half of The Monk has as many twists and turns as the labyrinths in the caverns, dungeons, and prisons that ironically exist below the Capuchin monastery. The evil that Raymond encounters in his efforts to succor his love, Agnes, from the grasp of the hideous prioress and the convent as well as Lorenzo's efforts to claim the love of his life, Antonia, is as fraught with as much evil and corruption as the "emblems of death... skulls, shoulder-blades, thigh-bones, and other reliques of mortality... scattered upon the dewy ground" of the hidden sepulchers. Lewis's female characters suffer the greatest of horrendous treatment and fates although the male characters are not spared their agonies and torment, either, as they trek from one hellish ordeal to another.In spite of the suffering and agony of many of the characters, the novel's explicitly, and the allegedly blasphemous elements of the work, Lewis does serve up a considerable dose of moral justice for two of the chief villains of the piece. Making an appearance twice in the book (and each time in a vastly different form), is Lucifer himself. In the final pages of The Monk Lewis gives readers one of the most memorable and gruesome representations of the Prince of Evil that readers are likely to ever encounter. Because of Ambrosio's repeated, conscious and depraved decisions and actions he places himself in an all but impossible position as he devolves from being a man of God to a reprobate who has to wrestle with still being capable of heavenly if not earthly salvation, or face an eternity of utter, irrevocable doom. Lewis saves some of his most startling and nastiest surprises for the reader (and Ambrosio as well) until the very end of the book when Lucifer himself reveals the true depths of evil to which Ambrosio has sunk because of the crimes he has committed. The monk's finale grim and apt fate brings the novel to an unforgettable, classic conclusion.The Monk is an influential masterpiece of literature and the new edition just released by Valancourt is a must have/must read. Readers who pick up the work will find there are surprises galore and many hours of reading pleasure awaiting them in this far from moldy, readily accessible, influential, vastly entertaining, and extraordinary gothic masterpiece.The Valancourt edition of THE MONK gives lovers of literature (finally!) a beautiful hardcover edition of the novel, the text of which is "reprinted from the British Library's copy of the first edition, published in three volumes by J. Bell of London in 1796" with "a reproduction of the original title page." Although THE MONK was originally published without illustrations, Valancourt has included six full-page engravings from later editions and a marvelous dust jacket with art work by M. S. Corley. A ten-page Introduction by the modern master of horror, Stephen King, is also included. This is a title not to be missed.

Now that's what I'm talking about.In the same manner that Dangerous Liaisons saved an entire genre (the epistolary novel) from never having a proper representative book written well, so too does this book rescue one (goth) from such a fate.It takes what all goth books preceding it tried to do (and failed), and does it right.I have written before that this goth genre is very kitchen sink. It attempts to throw dozens of elements into a narrative and weave a story. It isn't done well.Until this one! Every aspect of the genre is made interesting here, and fascinating. Things are compelling, and grab your attention, and peril and bedamnedness is ever-present and comes across as real, and feasible, and possible, as opposed to the trash that is the work of the Marquis De Sade.Yes, a man can devolve in precisely this way. It is completely believable.The goth elements could have been stripped away, and the story could have been great, but somehow, by skill of the young author, these elements add to the story. They don't subtract at all.I even understand how the somewhat-lengthy diversions serve the story, as instructive parables to how things might turn out.Finally, the ending is altogether fitting, and horrific, and satisfying.

It takes a little time to get used to the style and voice of the author but well worth your perseverance.Some scenes are too implausible to maintain realism but allow your self to suspend disbelief and you will enjoy this read.Catholics will be offended more than once, but the fictional crimes depicted herein are on par with the real crimes of Priests and Bishops that have come to light over the last 2 decades.We can't be angry at this condemnation of the Priesthood when we know-as we do-that it is richly deserved.We Catholics must be content to realize (As Chesterton, who read this book as a youngster, said) "Good Orders can have bad Knights and good Knights can have bad temperaments".

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