48 pages • 1 hour read
Charlotte DacreA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Victoria is relieved and grateful that Zofloya has somehow disposed of the body. Shortly after Berenza’s death, Victoria decides to enact her plan: she confesses her passionate love to Henriquez and asks him to marry her. Henriquez is disgusted: he has never liked Victoria, he is devoted to Lilla, and he thinks it is far too soon after her husband’s death for her to be seeking a new spouse. Victoria is enraged by his rejection, but she feigns sadness and embarrassment. Henriquez is softened when he thinks Victoria is sad and ashamed and says that he forgives her.
Victoria laments to Zofloya that Henriquez still does not love her. She expresses her longing for Lilla to die; Zofloya offers to help but says that it will be too suspicious if Lilla is killed. He tells Victoria to climb up to a high outlook near the castle the following day and await him there. A grateful Victoria tries to give Zofloya a priceless diamond, but he declines it. Early the next morning, Victoria waits at the high outcrop of rock, overlooking a waterfall. Zofloya arrives carrying Lilla, who is unconscious.
Zofloya leads Victoria to a hidden cave, where he chains up Lilla; he assures Victoria that no one will find her there. Zofloya does explain that he will bring food and necessary supplies to Lilla, while Victoria muses that she may occasionally go to the cave to torture the young girl. Zofloya and Victoria make their way back to the castle without anyone seeing them.
Henriquez realizes that Lilla is missing and begins searching frantically for her, while Victoria pretends to help. Henriquez’s grief eventually causes a fever, and he is ill for weeks. Victoria nurses him, and meanwhile Zofloya visits Lilla with food every day. Victoria speaks again of her love for Henriquez, but he reasserts that he will never love her.
Victoria tells Zofloya that Henriquez has “formally, finally and coolly reject[ed] me” (210). Zofloya asks if Victoria would want to experience Henriquez’s love if she could only do so while being mistaken for Lilla, and Victoria says she would. Zofloya explains that he has a potion that Victoria can give to Henriquez: He will become confused and delusional, leading him to mistake her for Lilla. He gives the potion to a delighted Victoria, who rushes back to the castle.
Victoria pretends to be meek and submissive towards Henriquez; she administers the potion, and he falls asleep. Henriquez awakens in the morning having dreamed of Lilla; in a state of delirium, he rushes around and comes upon Victoria, who has disguised herself in some of Lilla’s clothing. He believes she is Lilla and embraces her; Victoria claims that they are married; the two spend the evening dancing and celebrating before retiring to bed.
Henriquez wakes up, recovered from the potion, and sees Victoria lying next to him. Crazed by his betrayal, he jumps out of bed and dies by suicide, impaling himself on his sword. Victoria watches him die and then rushes to the cave where Lilla is hidden. She drags Lilla out of the cave, explaining that she intends to kill her. Lilla tries to get away and begs for mercy, but Victoria pursues her, stabbing Lilla, and then throwing her off a high cliff.
Victoria returns to the castle, where Zofloya rebukes her for hastily killing Lilla and tells her not to go into the castle. Victoria ignores him; she locks up Henriquez’s bedroom (where his body is still located) and goes to sleep. However, Victoria has a dream in which one of the servants finds Berenza’s skeleton shut up in a chest. Victoria awakens and finds Zofloya in her room; he explains that the dream is a prophecy, and the servant is indeed going to find the skeleton in a few hours. This will cause suspicion, and the body of Henriquez will quickly be found; Victoria will be incriminated and likely convicted of both murders. Victoria begs Zofloya to save her; he tells her to trust him. She will fall into a deep sleep and then be safe.
Victoria awakens to find herself in the Alps with Zofloya; he has used some sort of magic to transport her there. They quickly encounter a band of condottieri (mercenary soldiers and bandits who often lived in remote areas); Zofloya tells Victoria not to be afraid. The bandits take them to their hideout in a cave, where they bring Zofloya and Victoria to their chief. The chief is accompanied by a woman who looks familiar to Victoria. Zofloya explains to the chief that he and Victoria are seeking aid, and asks if they can stay with the bandits; the chief agrees and finds a place for Victoria to sleep in the cave.
Victoria wonders if Zofloya is going to initiate a sexual relationship, but he tenderly tells her that he will wait to claim her. When they wake up, Zofloya and Victoria go for a walk near the cave. She tells him that she thinks the chief is familiar. Victoria is anxious to get away from the bandits, but Zofloya tells her to be patient. He gloats that she will soon be his.
Time passes, and Victoria becomes dissatisfied with living in squalor amongst the bandits. She sometimes wishes to run away, but she also feels more attached to Zofloya than ever. One day, she has a vision of an angel, who tells her that she can still save her soul from damnation, but only if she gets away from Zofloya. Victoria considers trying to get away from him, but Zofloya tells her that he can read her thoughts, and seductively urges her to stay with him.
Back at the cave, some of the bandits bring in a battered and disheveled woman and a man, whom they have captured. The chief reacts violently to the sight of the man, and begins stabbing him; the woman becomes distressed while watching the chief kill her companion. Witnessing the scene, Victoria realizes that Leonardo (her brother) is the chief of the bandits and that the man and the woman are Ardolph and her mother. Leonardo proclaims his joy that he has finally had the opportunity to kill the man who seduced his mother, and believes he has avenged the family honor.
Leonardo tends to his mother’s injuries and asks what happened. The bandits explain that they found Ardolph cruelly beating Laurina, and they seized the couple. The narrative reveals that after Ardolph and Laurina left Victoria, they traveled for some time, but Ardolph began to gamble heavily, and the couple often fought.
Laurina is dying from her injuries, but she recognizes her two children and begs for their forgiveness. Leonardo readily forgives her, but Victoria refuses and taunts her mother. Leonardo rebukes his sister for her cruelty. Laurina dies, and Victoria says that their mother is to blame for all of their misfortunes. Zofloya takes Victoria aside and tells her that one of the bandits has turned against Leonardo and betrayed their hiding place to local officials. Zofloya predicts that the bandits will be attacked the following day, but he promises to keep Victoria safe.
The next day, troops arrive, and the bandits realize they are surrounded. Leonardo knows the situation is hopeless and apologizes to his mistress, whom Victoria realizes is Megalena. Recognizing that they are about to be arrested or killed, Megalena and Leonardo die by suicide. Victoria is frightened, but Zofloya magically transports her to a high precipice. He makes her promise to be his, and once she consents, he reveals that he is Satan. He drags Victoria from the precipice and down into the depths of hell.
The rising action of the plot speeds up in the aftermath of Berenza’s death. Though Zofloya presents this event as the solution to Victoria’s problems, it only leads to more murders and violence. Victoria repeatedly fails to see that Zofloya (while seemingly giving her what she wants) is rendering her more vulnerable and dependent on him: The more crimes in which she is implicated, the more she is under his sway. While reckless, violent, and impulsive, Victoria is quite fearful at the prospect of being tortured, imprisoned, or executed (all fates that would await her if she was convicted of murder). By depicting this chain of events, Dacre develops her argument that immoral actions will only lead to destructive consequences, and can easily spiral out of control: just as Laurina failed to calculate the cost of her adultery, Victoria fails to see that committing one murder will lead to more bloodshed.
When Henriquez rejects her more decisively, Victoria’s rage towards Lilla increases even further, exemplifying the theme of Sexual Jealousy and Rivalry Between Women. Victoria responds eagerly to Zofloya’s offer that she can occasionally torture her innocent young rival and gloats that “there is certainly pleasure […] in the infliction of prolonged torment” (205). For Victoria, inflicting pain on her sexual rival is almost as satisfying as the pleasure she might derive from the object of her desire. Victoria’s frank sexual desire already places her at odds with 19th-century gender norms, but her lust for vengeance and inflicting pain is entirely antithetical to the feminine ideal of the era. Once Lilla is imprisoned in the cave (the confinement to a small or subterranean space is another Gothic trope), her vulnerability is heightened and she is referred to using language such as the “kneeling defenseless orphan” (204). The more pitiful Lilla’s depiction, the more horrifying Victoria’s characterization.
In The Monk, Ambrosio eventually drugs and rapes the object of his desire (a young woman named Antonia); Dacre creates a parallel plot in which Victoria uses a magic potion to confuse Henriquez so that he will finally have sex with her. This plotline furthers Victoria’s reliance on Zofloya (who gives her the potion), gradually eroding her agency; she can only achieve her desires with Zofloya’s assistance. Victoria repeats her erroneous pattern of short-term thinking; she doesn’t think beyond what will happen after she and Henriquez finally have sex, and when she complains to Zofloya that he hasn’t honored their agreement, Zofloya points out that he has outwitted her: “I swore to thee that thou should’st have his love—did I promise thee that his delusion should last for ever?” (224).
Victoria’s murder of Lilla marks a turning point in her character: She played a passive and indirect role in several other violent deaths, but shows grotesque and sexualized violence in slaughtering Henriquez’s beloved: “She stabbed [Lilla] in the bosom, in the shoulder, and other parts […] she covered her fair body with innumerable wounds, then dashed her headlong over the edge of the steep” (220). This act of direct, physical violence contrasts with Victoria’s earlier poisoning of Berenza. The stabbing adds a phallic element to Victoria’s violent attack and heightens the effect of Victoria violating and damaging Lilla’s body, which is repeatedly described as white, slender, and delicate. In the wake of these violent acts, Victoria is more dependent than ever on Zofloya, because she is terrified of being found guilty of her crimes. Part of Dacre’s critique is that the pseudo-agency Zofloya claims to offer is a ruse: Victoria ultimately submits to him in unquestioning obedience.
As Victoria becomes more submissive to Zofloya, there is also an increased erotic charge between them. When Zofloya takes her into his arms, Victoria is left “blushing at her feelings, when she remembered that Zofloya […] was but a menial slave” (227). Victoria’s shame at her desire is presented as rooted in Zofloya’s inferior social status, but the use of the word “slave” also reveals that Victoria’s attraction to this racialized and exoticized figure is perceived as inherently threatening. Once Zofloya has whisked Victoria away to shelter in the Alps, the two of them increasingly interact as lovers. Dacre plays on the multiple meanings of possession when the two repeatedly discuss how Victoria is “thine forever” (231). Victoria at first coyly implies that her friendship, gratitude and affection are what Zofloya is free to possess, but she also seems to interpret Zofloya’s words as referencing sexual possession. She fails to anticipate that Zofloya is revealing his plan to possess her soul. According to traditional Christian doctrine, each individual possesses an eternal soul that lives on after death and can experience either eternal joy in heaven or eternal torment in hell. Victoria is so preoccupied with her immediate and material desires that she does not think to protect her eternal soul.
The novel’s climax is bloody and chaotic, with the deaths of virtually everyone from Victoria’s past (Leonardo, Megalena, Laurina, and Ardolph). Victoria consents to Zofloya’s demand “wilt thou unequivocally give thyself to me, heart, and body, and soul?” (253), creating a dark parody of a wedding ceremony, and further undercutting the idea of women achieving agency and self-determination. Once Victoria has fully yielded to Zofloya, he reveals his true identity as Satan and explains that he targeted Victoria because of her impetuous desires: “thy loose and evil thoughts first pointed thee out to my keen, my searching view” (254). Because of Victoria’s “exquisite willingness” (254), she was seduced and is now damned. Victoria’s damnation is marked by falling into rushing waters from a great height, literalizing the language of a “fallen woman” (a term from the 18th and 19th centuries referencing a woman’s social ostracism if she engaged in illicit or inappropriate sexual activity). While Zofloya tempts Victoria into outrageous acts, Dacre’s novel functions as a moral warning for readers (likely assumed to be mostly women) who might be tempted to succumb to more ubiquitous forms of seduction and temptation. The novel ends with a direct address to the reader, cautioning that “the progress of vice is gradual and imperceptible” (254). Dacre thus legitimates her lurid novel as a morally edifying cautionary tale.
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