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Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2,0 (B), Humboldt-University of Berlin (Institute for Anglistics/ American Studies), course: HS Novels of the Romatic Period, language: English, abstract: In this paper I will examine the Gothic sublime by using the example of Horace Walpole ́s novel The Castle of Otranto. I want to examine the features of the Gothic sublime: what was new and different about it? how is this reflected in the novel?; in order to prove the importance of Walpole ́s work. It marks, in a certain aspect, a turning point in literature, since it is regarded the first Gothic novel. I will argue that the horror as developed in The Castle of Otranto is not simply based upon the appearance of ghosts and supernatural events, but rather a subtle kind of horror. Firstly, an introduction into the Gothic novel in general, its characteristic features, and the examination of the cultural background of English Gothic fiction shall give a brief overview over the topic. Secondly, I will examine the means by which Walpole evokes fear in the reader, and the effects they had.
"The Castle of Otranto" tells the story of Manfred, lord of the castle, and his family. On the wedding-day of his sickly son Conrad and princess Isabella, Conrad is crushed to death by a gigantic helmet that falls on him from above. This inexplicable event is particularly ominous in light of an ancient prophecy. Manfred, terrified that Conrad's death signals the beginning of the end for his line, resolves to avert destruction by marrying Isabella himself while divorcing his current wife Hippolita, whom he feels has failed to bear him a proper heir. "The Old English Baron" is the literary offspring of The Castle of Otranto. The story follows the adventures of Sir Philip Harclay, who returns to medieval England to find that Arthur Lord Lovel, the friend of his youth, is dead. His cousin Walter Lord Lovel had succeeded to the estate, and sold the family castle to the baron, Fitz-Owen. Among the baron's household were his two sons and daughter Emma, several young gentlemen relations being educated with the sons, and Edmund Twyford, the son of a peasant, who had been brought to live with them. When Sir Philip saw him, he took an immediate liking to him, being struck by his resemblance to his lost friend. The Knight proposing to take him into his own family, being childless, Edmund preferred to remain with the baron, receiving however an assurance that if ever he was in need of it, Sir Philip would renew his offer.
This Broadview edition pairs the first Gothic novel with the first Gothic drama, both by Horace Walpole. Published on Christmas Eve, 1764, on Walpole’s private press at Strawberry Hill, his Gothicized country house, The Castle of Otranto became an instant and immediate classic of the Gothic genre as well as the prototype for Gothic fiction for the next two hundred years. Walpole’s brooding and intense drama, The Mysterious Mother, focuses on the protagonist’s angst over an act of incest with his mother, and includes the appearance of Father Benedict, Gothic literature’s first evil monk. Appendices in this edition include selections from Walpole’s letters, contemporary responses, and writings illustrating the aesthetic and intellectual climate of the period. Also included is Sir Walter Scott’s introduction to the 1811 edition of The Castle of Otranto.
The Castle of Otranto is a 1764 novel by Horace Walpole. It is generally regarded as the first gothic novel, initiating a literary genre which would become extremely popular in the later 18th and early 19th century, with authors such as Charles Maturin, Ann Radcliffe, Bram Stoker, Edgar Allan Poe and Daphne du Maurier
After the death of his only son on his wedding day, Manfred, the Prince of Otranto, determines to marry the bride-to-be, setting himself on a course of destruction.
Gothic literature imagines the return of ghosts from the past. But what about the ghosts of the classical past? Spectres of Antiquity is the first full-length study to describe the relationship between Greek and Roman culture and the Gothic novels, poetry, and drama of the eighteenth and early nineteenth centuries. Rather than simply representing the opposite of classical aesthetics and ideas, the Gothic emerged from an awareness of the lingering power of antiquity. The Gothic reflects a new and darker vision of the ancient world: no longer inspiring modernity through its examples, antiquity has become a ghost, haunting contemporary minds rather than guiding them. Through readings of works by authors including Horace Walpole, Ann Radcliffe, Matthew Lewis, Charles Brockden Brown, and Mary Shelley, Spectres of Antiquity argues that these authors' plots and ideas preserve the remembered traces of Greece and Rome. James Uden provides evidence for many allusions to ancient texts that have never previously been noted in scholarship, and he offers an accessible guide both to the Gothic genre and to the classical world to which it responds. In fascinating and compelling detail, Spectres of Antiquity rewrites the history of the Gothic, demonstrating that the genre was haunted by a far deeper sense of history than has previously been assumed.
An amusing and charming Gothic novel, which is remarkable for its masterful blend of ancient and modern romance. It is a story of Manfred's son and heir to the title of Otranto. It was first published with pseudonym in 1764. It is an ostensible translation of an Italian story of the crusades' time. Charismatic ...
The Castle of Otranto by Horace Walpole The Castle of Otranto, a novel by Horace Walpole, published under a pseudonym in 1764 (although the first editions are dated the following year). It is considered the first Gothic novel in the English language, and it is often said that it founded the horror story as a legitimate literary form. Walpole presents The Castle of Otranto as the English translation of a recently discovered manuscript. The preface to the first edition suggests that the manuscript was written sometime between 1095 and 1243 (during the Crusades), "or shortly after", and subsequently printed in Naples in 1529. The manuscript tells the story of Manfred, a prince of Otranto. . At the beginning of the story, Manfred eagerly awaits the marriage of his sickly son, Conrad, to Princess Isabella. Manfred's subjects notice his impatience. They suspect that Manfred has arranged the marriage in hopes of avoiding an ancient prophecy that predicted that his castle and his governorate of Otranto "would pass from the present family, provided the royal owner grew too large to inhabit." The wedding date is set for Conrad's birthday. However, on their wedding day, Manfred's son is nowhere to be found. In the courtyard, a servant discovers that a huge helmet fell from the sky and crushed Conrad to death. Realizing that his only male heir is dead and his wife can no longer have children, Manfred decides to marry Isabella. He approaches Isabella with this proposal. When she refuses to marry him, Manfred grabs her, apparently with the intention of raping her. Fortunately, a series of supernatural events, including the appearance of his grandfather's ghost, distracts Manfred, and Isabella manages to break free. As she escapes to the nearby Saint Nicholas Church (with the help of a peasant named Theodore), Manfred confronts his guards, who claim to have seen a giant armored leg in the gallery. Later, he and his guards are joined by a group of knights who seek Isabel on behalf of her father, the Marquis of Vicenza. Outside the castle grounds, Theodore bravely defends Isabella from a knight. She hurts the knight and discovers, to her dismay, that the wounded knight is actually Isabella's father, Frederic. Together, Theodore, Frederic, and Isabella return to the castle. Frederic recovers and explains to Manfred's wife, Hippolita, how exactly he came to be in Otranto: while he was at war, Frederic had a vision that warned him that his daughter was in danger. The vision directed him to a forest where he met a hermit. The hermit directed him towards a gigantic sword with an inscribed prophecy: Manfred, suddenly noticing the resemblance between Theodore and the hero Alfonso, tries again to secure Isabella's hand in marriage. This time he proposes to Frederic that they marry the other's daughters. At first, Frederic agrees, but the ghost of the forest hermit haunts him and he finally decides not to go through with the double marriage. Manfred is furious, and even more so when he learns that Theodore meets a lady at Alfonso's grave. Manfred convinced that Isabella is having an affair with Theodore, sneaks into the grave and fatally stabs the lady. Horrified, Manfred realizes that she has not killed Isabella but her own daughter, Matilda. Moments after Matilda's death, the castle wall behind Manfred collapses, revealing a gigantic vision of Alfonso. Alfonso's image declares that his grandson, Theodore, is the true heir of Otranto. Manfred then reveals that his grandfather poisoned Alfonso and usurped his throne. In an attempt to atone for his wrongdoing, Manfred agrees to abdicate the throne. The novel ends with Frederic offering Isabella's hand in marriage to Theodore. Although he eventually agrees to marry Isabella, Theodore mourns the loss of his true love, Matilda, for many years.
The Castle of Otranto is a novel by Horace Walpole. First published in 1764, it is generally regarded as the first gothic novel. In the second edition, Walpole applied the word 'Gothic' to the novel in the subtitle - A Gothic Story. Set in a haunted castle, the novel merged medievalism and terror in a style that has endured ever since. The aesthetic of the book has shaped modern-day gothic books, films, art, music and the goth subculture.