The Monk features many characters who assume a certain identity or personality in order to hide their true thoughts or intentions. In addition to creating dramatic tension and comedic relief, this discrepancy between outer behavior and inner reality further serves to highlight the unreliability of appearances as well as the power of perception or expectation to distort reality. For instance, Ambrosio’s devout persona and religious garb conceal his tormented soul and evil sinful urges. When he breaks his vow never to leave the monastery, for instance, he hides his facial features underneath his cowl (a hood worn by a monk) in order to conceal his facial features, a symbolically rich act that speaks to moral hypocrisy of religious leaders as much as the unreliability of appearances.
The novel further demonstrates the unreliability of appearances through its use of disguises. The blasphemous Matilda, for instance, disguises herself as a young monk in training named Rosario in order to get close to Ambrosio, and, ultimately, seduce him. In Chapter III, in which Raymond relates to Lorenzo the sequence of events leading up to his first meeting Lorenzo’s sister Agnes, Raymond takes shelter with a woodsman named Baptiste and Baptiste’s wife, Marguerite. Although Baptiste initially seems kind while Marguerite comes off as hostile and unfeeling, Raymond soon discovers that this is all a ruse: in fact, Baptiste is a scheming bandit who lures unsuspecting travelers into his cottage to murder them and steal their money. Marguerite, meanwhile, plays a critical role in orchestrating Raymond’s escape, and it’s she who alerts Raymond to Baptiste’s design in the first place. Later in the novel, as part of Agnes’s plot to escape the castle of Lindenberg to elope with Raymond, she disguises herself as the bleeding nun, a spectral figure who roams freely about the castle once every five years. In an ironic twist, Raymond, who had been waiting to drive his beloved away from the castle on the night of her escape, mistakes the actual bleeding nun for Agnes. In emphasizing these discrepancies between outer appearance and inner reality, The Monk highlights the unreliability of human perception while also cautioning readers against making snap judgments that stem from cultural or religious biases.
Appearance vs. Reality ThemeTracker
Appearance vs. Reality Quotes in The Monk
‘’Tis a young creature,’ said she, ‘who is totally ignorant of the world. She has been brought up in an old castle in Murcia, with no other society than her mother’s, who, God help her! has no more sense, good soul, than is necessary to carry her soup to her mouth. […]’
‘[…] In the whole course of his life he has never been known to transgress a single rule of his order; the smallest stain is not to be discovered upon his character; and he is reported to be so strict an observer of chastity, that he knows not in what consists the difference of man and woman. The common people therefore esteem him to be a saint.’
‘[…] Artless yourself, you suspect not others of deceit; and viewing the world through the medium of your own truth and innocence, you fancy all who surround you to deserve your confidence and esteem. What pity, that these gay visions must soon be dissipated! What pity, that you must soon discover the baseness of mankind, and guard against your fellow-creatures as against your foes!’
Ambrosio was yet to learn, that to an heart unacquainted with her, vice is ever most dangerous when lurking behind the mask of virtue.
A glance upon Marguerite told her that her hint had not been thrown away upon me. How different did she now appear to me! What before seemed gloom and sullenness, I now found to be disgust at her associates and compassion for my danger.
‘I tremble for your sister,’ said she; ‘I have heard many traits of the domina of St Clare’s character from a friend who was educated in the same convent with her: she reported her to be 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. […]’
Ambrosio again raged with desire: the die was thrown: his vows were already broken: he had already committed the crime, and why should he refrain from enjoying its reward?
But what he wanted in purity of heart, he supplied by exterior sanctity. The better to cloak his transgression, he redoubled his pretensions to the semblance of virtue, and he never appeared more devoted to heaven than since he had broken through his engagements. Thus did he unconsciously add hypocrisy to perjury and incontinence: he had fallen into the latter errors from yielding to seduction almost irresistible: but he was now guilty of a voluntary fault, by endeavoring to conceal those into which another had betrayed him.
He reflected on the enormity of the crime, the consequences of a discovery, and the probability, after what had passed, of Elvira’s suspecting him to be her daughter’s ravisher. On the other hand it was suggested, that she could do more than suspect; that no proofs of his guilt could be produced; that it would seem impossible for the rape to have been committed without Antonia’s knowing when, where, or by whom; and finally, he believed that his fame was too firmly established to be shaken by the unsupported accusations of two unknown women. The latter argument was perfectly false. He knew not how uncertain is the air of popular appease, and that a moment suffices to make him to-day the detestation of the world, who yesterday was its idol. The result of the monk’s deliberations was, that he should proceed in his enterprise.
Ambrosio shuddered at himself when he reflected on his rapid advances in iniquity. The enormous crime which he had just committed, filled him with real horror. The murdered Elvira was continually before his eyes, and his guilt was already punished by the agonies of his conscience. Time, however, considerably weakened these impressions: one day passed away; another followed it, and still not the least suspicion was thrown upon him. Impunity reconciled him to his guilt. He began to resume his spirits; and as his fears of detection died away, he paid less attention to the reproaches of remorse.
She paused. The abbot shuddered when she mentioned Elvira. Antonia imputed his emotion to pity and concern for her.
His good sense had pointed out to him the artifices of the monks, the gross absurdity of their miracles, wonders, and suppositious reliques. He blushed to see his countrymen the dupes of deceptions so ridiculous, and only wished for an opportunity to free them from their monkish fetters. That opportunity, so long desired in vain, was at length presented to him. He resolved not to let it slip, but to set before the people, in glaring colours, how enormous were the abuses but too frequently practiced in monasteries, and how unjustly public esteem was bestowed indiscriminately upon all who wore a religious habit. He longed for the moment destined to unmask the hypocrites, and convince his countrymen, that a sanctified exterior does not always hide a virtuous heart.
Virginia requested that the unknown might be given to her in charge, and promised to let Lorenzo know, whenever she was sufficiently recovered to accept his visits. In truth, she made this promise more from consideration for herself, than for either Lorenzo or the captive. She had witnessed his politeness, gentleness, and intrepidity with sensible emotion. She wished earnestly to preserve his acquaintance; and in addition to the sentiments of pity which the prisoner excited, she hoped that her attention to this unfortunate would raise her a degree in the esteem of Lorenzo.
‘What? That you may denounce me to the world? that you may proclaim me a hypocrite, a ravisher, a betrayer, a monster of cruelty, lust, and ingratitude? No, no, no! I know well the whole weight of my offences; well, that your complaints would be too just, and my crimes too notorious! You shall not from hence to tell Madrid that I am a villain; that my conscience is loaded with sins, which make me despair of Heaven’s pardon. Wretched girl, you must stay here with me! […]’
Should he release her, he could not depend upon her silence. His offence was too flagrant to permit his hoping for her forgiveness. Besides, her re-appearing would excite universal curiosity, and the violence of her affliction would prevent her from concealing its cause. He determined, therefore, that Antonia should remain a prisoner in the dungeon.
‘I have him then in my power! This model of piety! this being without reproach! this mortal who placed his puny virtues on a level with those of angels. He is mine! irrevocably, eternally mine! Companions of my sufferings! denizens of hell! How grateful will be my present!’
‘What?’ he cried, darting at him a look of fury: ‘Dare you still implore the Eternal’s mercy? Would you feign penitence, and again act an hypocrite’s part? Villain, resign your hopes of pardon. Thus I secure my prey!’