"She sank into a chair, reclined her head upon her arm, and gazed upon the floor with a vacant stare, while the most gloomy images floated before her fancy."

— Lewis, Matthew Gregory (1775-1818)


Work Title
Place of Publication
London
Publisher
Printed for J. Bell
Date
1796
Metaphor
"She sank into a chair, reclined her head upon her arm, and gazed upon the floor with a vacant stare, while the most gloomy images floated before her fancy."
Metaphor in Context
Elvira, whose inquietude respecting her daughter was a great obstacle to her perfect re-establishment, was still labouring under the effects of her late severe illness. She was this evening more than usually indisposed, and retired to bed before her accustomed hour. Antonia withdrew from her mother's chamber with regret, and, till the door closed, kept her eyes fixed upon her with melancholy expression. She retired to her own apartment: her heart was filled with bitterness. It seemed to her that all her prospects were blasted, and the world contained nothing for which it was worth existing; She sank into a chair, reclined her head upon her arm, and gazed upon the floor with a vacant stare, while the most gloomy images floated before her fancy. She was still in this state of insensibility, when she was disturbed by hearing a strain of soft music breathed beneath her window. She rose, drew near the casement, and opened it to hear it more distinctly. Having thrown her veil over her face, she ventured to look out. By the light of the moon she perceived several men below with guitars and lutes in their hands; and at a little distance from them stood another wrapped in his cloak, whose stature and appearance bore a strong resemblance to Lorenzo's. She was not deceived in this conjecture. It was indeed Lorenzo himself, who, bound by his word not to present himself to Antonia without his uncle's consent, endeavoured, by occasional serenades, to convince his mistress that his attachment still existed. His stratagem had not the desired effect. Antonia was far from supposing that this nightly music was intended as a compliment to her. She was too modest to think herself worthy such attentions; and concluding them to be addressed to some neighbouring lady, she grieved to find that they were offered by Lorenzo.
(III, pp. 29-31)
Categories
Provenance
ECCO-TCP
Citation
12 entries in ESTC (1795, 1796, 1797, 1798, 1799, 1800).

See The Monk: A Romance. In Three Volumes. (London: Printed for J. Bell, 1796). <Link to ESTC><Link to Vol. I in ECCO-TCP><Vol. II><Vol. III>

Pre-published as The Monk: A Romance. In Three Volumes. (London: Printed for J. Bell, 1795). <Link to ESTC>

See also the substantially revised fourth edition: Ambrosio, or the monk: a romance. By M.G. Lewis, Esq. M.P. In three volumes. The fourth edition, with considerable additions and alterations. (London: Printed for J. Bell, 1798). <Link to ESTC>
Date of Entry
03/12/2014

The Mind is a Metaphor is authored by Brad Pasanek, Assistant Professor of English, University of Virginia.