Antonia Character Analysis in The Monk

Antonia is Elvira’s daughter. She is a beautiful and virtuous young woman, but her innocence and inexperience leave her vulnerable to being taken advantage of. Ambrosio’s frequent and extremely obvious attempts to seduce Antonia, for instance, go completely over her head. Meanwhile, Antonia spends much of the story pining over Lorenzo, unaware that he loves her back. Antonia remains safe while her mother is around to protect her from the various evils of the world, but this changes when Ambrosio murders Elvira after she walks in on his attempted rape of Antonia and threatens to alert the public to his crimes. With Matilda’s help, Ambrosio fakes Antonia’s death and arranges for her to be laid to rest in the crypt of St. Clare, where he rapes her and plans to keep her prisoner for the rest of her days. After Antonia tries to flee, Ambrosio stabs her to prevent his sins from coming to light. Lorenzo arrives too late to save his beloved, and she dies in his arms.

Antonia Quotes in The Monk

The The Monk quotes below are all either spoken by Antonia or refer to Antonia. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:

‘’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. […]’

Related Characters: Leonella (speaker), Lorenzo, Antonia, Elvira, Don Christoval, Ambrosio

Page Number and Citation: 15

Explanation and Analysis:

Leonella speaks this quote when she and Antonia first meet Lorenzo and Don Christoval at the Capuchin church in Madrid. Antonia initially refused to remove her veil out of modesty, and so Leonella is explaining to the men—somewhat patronizingly—how her niece got to be so extremely modest, describing how Antonia’s mother Elvira completely cut Antonia off from the outside world. As a result, Antonia has grown up to be perfectly good and virtuous. But she’s also completely unaware that other people do not hold themselves to the same high moral standards as she does. Leonella’s explanation gestures toward the novel’s Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui e

‘[…] 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.’

Related Characters: Don Christoval (speaker), Leonella, Lorenzo, Antonia, Ambrosio

Page Number and Citation: 19

Explanation and Analysis:

Lorenzo, Don Christoval, Leonella, and Antonia are among a large crowd that has gathered in the Capuchin church in Madrid to hear the famed monk Ambrosio deliver a sermon. In this quote, Don Christoval tells Antonia and Leonella, who have only recently come to Madrid, all about Ambrosio’s reputation as a famously devout, disciplined monk. Don Christoval portrays Ambrosio’s commitment to his vows as unwavering to the extreme, noting that the monk has “never been known to transgress a single rule of his order,” nor can anyone identify “the smallest stain” on “his character.” Don Christoval even goes so far Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iur

‘[…] 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!’

Related Characters: Lorenzo (speaker), Antonia, Ambrosio, Elvira

Page Number and Citation: 22

Explanation and Analysis:

Lorenzo makes this comment to Antonia upon first meeting her at the Capuchin church in Madrid. He observes her most notable characteristic—her virtuousness—and laments the day she will inevitably lose it. Because she is so honest and pure of heart, Lorenzo notes to Antonia, addressing her directly, “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.” Put differently, Lorenzo is suggesting that Antonia is too virtuous and innocence for her own good. Because she’s been brought up in Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a

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.

Related Characters: Ambrosio, Antonia, Elvira

Page Number and Citation: 259

Explanation and Analysis:

This quote describes Ambrosio’s inner thoughts as he debates whether or not to carry out his depraved scheme to rape Antonia. Notably, the moral implications of committing such a vile act don’t factor into Ambrosio’s thought process: his concerns are limited to the likelihood of his being caught for committing the rape: though he does consider, briefly, “the enormity of the crime,” he only does so to weigh “the consequence of the discovery, and the probability […] of Elvira’s suspecting him to be her daughter’s ravisher” against the pleasure he stands to gain from committing the act. He does not Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui d

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.

Related Characters: Elvira, Antonia, Ambrosio

Page Number and Citation: 264

Explanation and Analysis:

This quote represents Ambrosio’s inner anguish following his murder of Elvira—he impulsively suffocated her after she interrupted his attempted rape of Antonia and threatened to inform the public of his sins. At first, Ambrosio appears to show remorse for his vile act: he is aware that he has just committed an “enormous crime,” and the realization “fill[s] him with real horror.” But whatever guilt Ambrosio feels at the outset is short lived. As days pass and “not the least suspicion [is] thrown upon him,” his guilt is “considerably weakened,” and he starts to ignore “the reproaches or remorse,” meaning his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus

She paused. The abbot shuddered when she mentioned Elvira. Antonia imputed his emotion to pity and concern for her.

Related Characters: Antonia, Elvira, Ambrosio, Matilda/Rosario

Page Number and Citation: 293

Explanation and Analysis:

Antonia’s mother, Elvira, has just died (because Ambrosio killed her after she caught him trying to rape the sleeping Antonia). Ambrosio, determined to go through with his depraved desire to bring about Antonia’s ruin, returns to Elvira’s apartment under the guise of comforting Antonia as she grieves her mother’s death. When Antonia mentions Elvira by name, Ambrosio (“the abbot”) “shudder[s],” which Antonia innocently interprets as “his emotion to pity and concern for her” in her moment of great anguish. In fact, Ambrosio’s shudder is an expression of the guilt and anxiety he feels over his murder of Elvira—Ambrosio’s depraved actions Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia

‘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! […]’

Related Characters: Ambrosio (speaker), Antonia

Page Number and Citation: 330

Explanation and Analysis:

Ambrosio has taken Antonia prisoner in the crypt of St. Clare after faking her death. There, he rapes her. When she begs for him to let her go, he responds with the above quotation. Ambrosio tells Antonia that he cannot let her go since she would surely “denounce [him] to the world” and tell everyone that he is “a hypocrite, a ravisher, a betrayer, and monster of cruelty, lust, and ingratitude”—all of which are demonstrably true by this point in the story. Ambrosio’s reasoning thus shows that not only is he a sinner: he’s an unrepentant sinner. His words make Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem

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.

Related Characters: Antonia, Ambrosio

Page Number and Citation: 330

Explanation and Analysis:

This quote represents Ambrosio’s inner thoughts as he considers what to do about Antonia, whom he is currently keeping prisoner in the crypt of St. Clare after faking her death in order to take advantage of her without alerting anyone’s suspicions. After Ambrosio forces himself on Antonia, she begs him to let her go. Ambrosio shows little if any pity for the young woman he has just defiled. Instead, he can only think about himself and what would happen to him were he to let Antonia free. She surely would let others know of the “offence” she suffered by his Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. Totam quae corporis. Impedit non ut. Incidunt rerum est. Aperiam doloremque eum. Animi soluta perspiciatis. Ut minima autem. Modi omnis iure. Sint qui qui. Qui similique praesentium

Antonia Character Timeline in The Monk

The timeline below shows where the character Antonia appears in The Monk. The colored dots and icons indicate which themes are associated with that appearance.

...of the cavaliers, Lorenzo, looks in the woman’s direction and sees a young, veiled woman (Antonia) accompanying her. The young lady is slight and dressed all in white. Lorenzo tries to... (full context)

...dies. Elvira returns to Spain with nowhere to go and no money to her name. Antonia—Elvira and her husband’s second child, whom they had while they were in the Indies—is only... (full context)

...the living marquis (Raymond) well, and he agrees to put in a good word on Antonia’s behalf. Antonia looks up at Lorenzo and thanks him silently with a shy, sweet smile. (full context)

Don Christoval explains that Ambrosio’s preaching is “profound” and persuasive. People call him a saint. Antonia asks, “Does that make a saint?” Because, if so, then she is one, too. Leonella... (full context)

...and all the congregants reach out eagerly to touch it. As Ambrosio exits the church, Antonia feels a tear roll down her cheek. Lorenzo notices this and asks her what she... (full context)

Antonia asks Leonella if Ambrosio can be their confessor, but Leonella refuses: she is not as... (full context)

Once alone, Don Christoval teases Lorenzo about Antonia, and Lorenzo admits that he is quite attracted to her. And his uncle, duke of... (full context)

Alone, Lorenzo takes in the calm stillness of the hour and thinks about Antonia and all that might stand in his way of marrying her. He falls asleep and... (full context)

...appears. It has the words “Pride! Lust! Inhumanity!” scrawled on its forehead. The monster seizes Antonia, drags her to the alter, and “torture[s] her with odious caresses.” Lorenzo tries to intervene,... (full context)

...column. Just then, the man reveals himself and announces that he is Raymond de la Cisternas—Antonia’s uncle. He promises to explain, but not here. He invites Lorenzo back to his hotel,... (full context)

Meanwhile, Antonia and Leonella are heading to Elvira’s lodgings after leaving the church. Leonella makes conversation with... (full context)

...and the “gipsy” humiliates her, declaring her already too old—at 51—to catch any lover’s eye. Antonia holds out her hand next, and the “gipsy” cautions Antonia that though she appears chaste... (full context)

...a broken blood vessel several months ago. Raymond, in return, offers to help Lorenzo pursue Antonia. (full context)

...quarters, meanwhile, Elvira scolds her sister Leonella for telling a stranger all about her and Antonia’s past. When she notices that the mere mention of Lorenzo’s name causes Antonia to blush,... (full context)

...Christoval. Unable to find his friend, he arrives at Elvira’s apartment alone—much to Leonella’s disappointment. Antonia is doing work around the house when he arrives. She blushes but doesn’t speak to... (full context)

After Lorenzo leaves, Antonia and Elvira sit in silence a while until Elvira confronts her daughter about Lorenzo. Elvira... (full context)

...the marquis (Raymond) but also asks that he not visit them so much—it’s clear that Antonia has feelings for Lorenzo, and Elvira needs to look out for her naïve daughter. Elvira’s... (full context)

...Elvira Dalfa,” and she gives Ambrosio the address. The woman, as it turns out, is Antonia, and her companion is Leonella. (full context)

...a confessor to Elvira, Ambrosio returns to his cell, but he can’t stop thinking about Antonia. Unlike Matilda, whom Ambrosio only lusts after, Antonia inspires thoughts of tenderness and love within... (full context)

Back in the story’s present, Ambrosio arrives at Elvira’s apartment. When Antonia sees Ambrosio, she is overcome with joy and leads him to Elvira’s chamber. Elvira is... (full context)

After Ambrosio departs, Elvira and Antonia gush over Ambrosio’s kindness and piety. Elvira admits that Ambrosio’s voice struck her as familiar,... (full context)

...been gone, and so he starts to visit her daily. At first his feelings for Antonia are innocent, but it’s not long before they grow lustful, and he soon makes it... (full context)

One day, Ambrosio is visiting Elvira’s apartment when he observes Antonia reading the Bible—an abridged version that Elvira assembled in order to prevent her daughter from... (full context)

Unaware of Antonia’s misunderstanding, Ambrosio lunges toward her, traps her in an embrace, and kisses her violently. She... (full context)

Unbeknownst to Ambrosio, Antonia innocently relayed some of his attempts at seduction to Elvira, who immediately grew suspicious of... (full context)

Back in his cell, Ambrosio laments his foiled plot to corrupt Antonia. Just then, he hears a quiet knock at his door. It’s Matilda. When he sternly... (full context)

...he follows her into the vault at St. Clare, she’ll perform incantations that will allow Antonia to be all his. When Ambrosio resists, Matilda accuses him of refusing her offer not... (full context)

...curiosity gets the best of him, and he gazes into Matilda’s magic mirror, which reveals Antonia undressing in her chamber. A bird flies in and nibbles at her breasts. Witnessing this... (full context)

...hands and then disappears. Matilda explains to Ambrosio that he must place the myrtle on Antonia’s pillow past midnight. A death-like sleep will overtake her, and Ambrosio will be able to... (full context)

...prevents him from reaching out to his uncle (the baron) about accepting his marriage to Antonia, and this, in turn, means Lorenzo can’t visit Antonia in the meantime (Elvira ordered Lorenzo... (full context)

Meanwhile, after bidding Elvira goodnight, Antonia retires to her own chamber. She hears music coming from outside and looks out her... (full context)

...would carry more weight than the accusations of two random women. With that, he enters Antonia’s room and places the myrtle upon Antonia’s pillow. Just as Matilda promised, she falls into... (full context)

Ambrosio undresses Antonia. But before he can assault her, Elvira bounds into the room, having been awoken by... (full context)

...of his sins. And, with Elvira dead, it’ll be easier for Ambrosio to get to Antonia. (full context)

Back at Elvira’s, Antonia awakes, stumbles on the corpse of her mother and shrieks in horror. She falls to... (full context)

Antonia falls into a deep melancholy. Now, she is alone in a strange city with little... (full context)

Antonia, Flora, and Jacintha stay up late into the night on Tuesday, awaiting Leonella’s arrival. To... (full context)

...vow to never leave the monastery. On the other hand, he deeply desires to see Antonia. Ultimately, his desire for Antonia wins out, and he agrees to follow Jacintha to her... (full context)

...and Jacintha arrive at Elvira’s apartment in Jacintha’s lodging house. Seeing Elvira’s ghost so horrified Antonia that she disregards her mother’s vague warnings about Ambrosio and is instead grateful to see... (full context)

Back at the monastery, Ambrosio frets over the possibility that Antonia may soon die. Matilda reassures him that this isn’t so—it’s merely a side effect of... (full context)

...vial of the herb, he heads to Jacintha’s lodging house to administer the potion to Antonia. Ambrosio wants to leave immediately in order to evade suspicion, but Jacintha reminds him that... (full context)

...behind the curtains. Just then, Jacintha approaches, moaning with horror. Elvira’s ghost told the truth: Antonia has begun to convulse and will surely soon die. Later, Father Pablos visits Antonia and... (full context)

Lorenzo returns to Madrid on the day of Antonia’s burial, bringing with him the order from the duke-cardinal and a troop of men to... (full context)

Ambrosio, meanwhile, is in the vault with Antonia, unaware of the chaos that has been ensuing aboveground. Matilda told him the drug he’d... (full context)

Antonia begs Ambrosio to release her now that her “ruin [is] completed,” but Ambrosio refuses. He... (full context)

Just then, Matilda appears, and Antonia is briefly relieved at the possibility that she might be rescued. Matilda tells Ambrosio about... (full context)

...flees, and Don Ramirez runs after him. Lorenzo arrives and recognizes the bleeding woman as Antonia. He cradles her in his arms, and her final moments are thus filled with a... (full context)

...overjoyed. Meanwhile, Lorenzo’s and Virginia’s feelings for each other grow, though Lorenzo continues to grieve Antonia. (full context)

...mob. In the end, Raymond and Agnes finally marry, as do Lorenzo and Virginia, though Antonia maintains a special place in Lorenzo’s heart. They go on to live happy lives despite... (full context)

...and everyone debates his guilt or innocence, though all the evidence points to him as Antonia’s murderer. Nobody can comprehend his rapid transformation from admired, pious monk to murderous villain in... (full context)

...at Ambrosio’s confusion and reveals some disturbing truths to Ambrosio. The two innocent women he killed—Antonia and Elvira—were in fact his sister and mother. And it was Lucifer who had sent... (full context)

Antonia Character Analysis

Antonia Quotes in The Monk

Chapter 1 Quotes

Chapter 8 Quotes

Chapter 9 Quotes

Chapter 11 Quotes

Antonia Character Timeline in The Monk