Dreams and Romantic Aesthetics

1. Is Lewis commenting on romantic aesthetics on pages 172-173? What is accepted about the poem, and what is not accepted? Did other romantic writers have similar views?
   
2. Dreams and nightmares harbor an element of fantasy, as well as psychological implications for some literary critics. Their mention often illustrates a state of sub-conscious desire or unconscious knowing of events to come. One very apparent reason to look at dreams in The Monk is that they often work as foreshadowing. From what we have read so far, how do dreams function as a method of foreshadowing, and how does this function enhance the Gothic element of the novel? In addition, how does the mention of and discussion of dreams give insight into the speaker or deepen the Gothic elements? For your convenience, I have noted pages that mention dreams or other words that can mean the same. The citations are taken from the online version of the book, presented through NetLibrary, provided by the AUM Online Library service (http://aumnicat.aum.edu:2079/).

Dreams

1.a dream, a dreadful dreadful dream told me . . . . . . But where am I? (Page 201)

2.Become sensible of his danger, awakened from his dream of confidence, He resolved (Page 36)

3.in silence.  The Lady was the first to recover herself. 'It is no dream! (Page 159)

4.and then hope for mercy!  Then dream of heaven, and sigh for worlds of light, (Page 227)

5.just witnessed had been a dream, so strong an impression had it made upon his (Page 15)

6.and I to own? If such there be, in gentle dream  Instruct my feet to shun (Page 135)

7.deceitful vapors faded away like a dream. (Page 224)

Slumber

1.Mother, sank back upon the pillow. 'This slumber cannot be natural!' cried the (Page 159)

2.me in some degree tranquillized my spirits.  I fell into a sort of slumber (Page 86)

3.does her Spright. When Mortals in slumber are bound, (Page 166)

4.which I was so much in need.  I sank into a profound and tranquil slumber, (Page 87)

5.and place it upon her pillow.  A death-like slumber will immediately seize (Page 147)

6.minutes seemed perfectly overcome with slumber. (Page 61)

7.with caution.  Elvira was enjoying a profound and quiet slumber; Her cheek (Page 134)

8.the two Waiting-women unhurt, and buried in the same death-like slumber which (Page 65)

9.He then returned to his Bed, and resigned himself to slumber. He awoke, heated (Page 36)

10.all thy joys are torn from me! Ah me!  How oft will Fancy's spells in slumber (Page 116)

Fancied

1.his mind being conscious of their import. Such was his occupation, when He fancied (Page 177)

2.to influence his slumbers. He still fancied himself to be in the Church of the (Page 14)

3.that her dreams were pleasant, and as Antonia bent over her, She fancied that (Page 134)

4.sweetness which rendered her truly enchanting.  Lorenzo fancied that She (Page 108)

5.towards the door.  Bewildered by fear, He fancied that his flight was opposed (Page 160)

6.so far from the Ground but that I fancied I perceived a female figure with a (Page 83)

7.was recalled to his mind, and He almost fancied that He beheld Elvira's visionary (Page 178)

8.Sometimes his dreams presented the image of his favorite Madona, and He fancied (Page 36)

9.strength enough to quit the room: Suddenly She fancied, that She heard a low (Page 167)

10.of sorcery and Spirits, He fancied that some unquiet Ghost was wandering near (Page 145)

Romanticism Defined! Please read before answering for this week! :)

Although the definition of Romanticism in the late 1700's can be difficult, if not at all impossible.  I believe that at it's core was the concept of freedom from logic.  Rejection of Enlightenment ideals, a turn toward the irrational feeling and heart, as opposed to the rational mind was the prevailing ethos of the time.

Here is a description of Romanticism, and as you can see it is not easy, this topic.  Looking back at a period of literary history and describing the impulses, drives, and determinations of it's writer can be daunting.  This one serves as an adequate example:

The Romantic Era: Lecture 16

What is in a name? -- Question Responses by 9/23/10

1. The very first thing that appeared to me when beginning to read The Monk was the complete title. The Monk – A Romance. Although this novel is widely studied as possibly the best Gothic novel ever written, the author made a point to "name" it directly as a Romance in the title.  Do you think the title is to be taken literally or is some form of diversion from what the text ultimately delivers?
2. I find if difficult not to reflect on Vathek and our discussion of a bastardized Romanticism when reading this text. This text, unlike the prior, weaves an intricate web of love associations from the very beginning. The Gothic element is not overtly present. From the playful seduction in the church between Antonia and Lorenzo, to Antonia's lust for Ambrosio during his sermon, to the cloaked love of Matilda and Ambrosio's impious lusts (even for the Virgin Mary), this novel reads as many romances do. However, it is set in and around a church. Thus, the struggle between religion and sin is made present again, but not nearly as distinctly as in Vathek. Does the strength of the intricate web of love associations in this section of the novel pull it closer to Romanticism? Does it still seem to fall into the classification of a twisted Romanticism, or does it read more easily as a Romance, as the title might suggest?

 (Note: My questions to begin the novel are somewhat general in nature, but you may supply specific examples from the text.  As we proceed, we will go deeper into character and plot.)

Vathek: Counterfeit Romanticism? -- Questions Response by 9/15/10

1. Some see the Gothic as a counterfeit form of Romanticism. The structure of Romanticism is turned upside down: both "hero" and "heroine" become opposites of the typical romantic form, should we say, anti-heros and anti-heroines. They do not fight for goodness, nor do they have their wishes fulfilled. The Romantic vision of an unlimited human potential is castrated by a abuse of human power. The characters risk all, not for love, salvation, or redemption, but for self-gratification in many disguises. The result is a separation of character from what is considered good: nature, society, and God. After having read Vathek, do you agree or disagree with this notion of a bastardized Romanticism? It may be easy to see how the Caliph and Carathis fit the definition above; however, do Nouronihar and Gulchenrouz experience a complete separation from Romantic ideals?
   
2. Beckford's characters in Vathek seem blinded by a false sense of hope. Like characters in other Gothic novels, they are never free, although they deceive themselves with the dream of freedom through sensual, untruthful, and sadistic conduct. However, hope that their freedom will not be lost, and that their lives, no matter how illusory, will somehow be preserved or improved is ever present. In Vathek, a predilection for the occult shows that the Caliph has a strong desire to be free of mortal bonds at all costs. However, the text exposes the falsity of his hope through glimpses of the “pure at heart” and by presenting him with opportunities for “redemption.” How does a moral/spiritual war manifest itself in the Caliph and the text? In what circumstances does he reflect on purity?  Where is he given opportunities to turn from his “sinful” life? How do these opportunities and reflections seek to add depth to his character and the text?

(I thought it would be interesting to ask the same questions of the prior story, The Castle of Otranto, because I see some interesting likenesses and differences in light of above questions. Might be the beginnings of some good comparison contrast papers. Not required.)