The Castle of Otranto, by Horace Walpole
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The Castle of Otranto, by Horace Walpole
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"[...]comport themselves as persons would do in their situation. There is no bombast, no similes, flowers, digressions, or unnecessary descriptions. Everything tends directly to the catastrophe. Never is the reader’s attention relaxed. The rules of the drama are almost observed throughout the conduct of the piece. The characters are well drawn, and still better maintained. Terror, the author’s principal engine, prevents the story from ever languishing; and it is so often contrasted by pity, that the mind is kept up in a constant vicissitude of interesting passions. Some persons may perhaps think the characters of the domestics too little serious for the general cast of the story; but besides their opposition to the principal personages, the art of the author is very observable in his conduct of the subalterns. They discover many passages essential to the story, which could not be well brought to light but by their naïveté and simplicity. In particular, the womanish terror and foibles of Bianca, in the last chapter, conduce essentially towards advancing the catastrophe. It is natural for a translator to be prejudiced in favour of his adopted[...]".
The Castle of Otranto, by Horace Walpole- Published on: 2015-03-23
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .22" w x 6.00" l, .27 pounds
- Binding: Paperback
- 94 pages
Review "Containing a Harry Potter-like array of animated portraits, supernatural adventures in vaults and cellars and astonishing, inexplicable events." —Telegraph
About the Author An English author, politician and architectural innovator, Horace Walpole is best-known for gothic novels. He was the 4th Earl of Orford and shared the name of his cousin Horatio Nelson. He introduced the neo-Gothic which commenced a new literary trend.
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Most helpful customer reviews
76 of 80 people found the following review helpful. The original Gothic novel By Guillermo Maynez Manfred is an usurpator who wants to consolidate his reign over Otranto. So he tries to marry his weak son to Isabella, heir to a more legitimate prince. But there is an old prophecy which warns against such moves, and the day of the wedding a gigantic iron helmet falls over Manfred's son's head. Then, a creepy -mostly funnily creepy- tale develops. But the plot, though wild and entertaining, is the least important thing about this 1764's novel.The really attractive, entertaining and literarily important thing is the creation of stereotypes: the foul weather; an ancient, dark castle full of closed halls, secret passages, corridors and doors; frightening apparitions; wicked tyrants desperate for fertile women; virtuous and pure ladies; heroic lads; dark and cold forests where ghosts appear, etc. Walpole, who seems to have been an interesting man, must have had enormous fun writing this tone-setting book, which has had plenty of children in literature. When I read it I kept imagining the scenes, the settings and the weather, and it was great to imagine it come alive. Literarily imperfect, it is fun to read and to discover where many of the commonplaces in Gothic literature come from. Well worth it.
41 of 45 people found the following review helpful. A strangely epitomizing expression of gothic literature By James M. Jensen II I read this book back in May, 2005, as part of my Gothic Lit. class. It's not a book I'd read again strictly for pleasure, but there is a strange quality to it that beckons me to read it again.While a fairly absurd and not-very-frightening book (at least to modern readers), this book is worth reading as it seems to contain every element that is a staple of gothic fiction -- and why not? It's the first, after all.After the class and a little thought, I lean toward considering the following elements to be the staples of "true" gothic stories:1. Numinous (frightening and awe-inspiring) supernatural elements (one could say that should be drawn loosely from real-world beliefs, but I won't make that stipulation myself)2. Excessive violence (not necessarily blood/guts/gore, but something that leaves you thinking "that wasn't called for")3. Sexual perversion (not necessarily anything explicit, just hints at something "not right" -- this element makes things both more exciting and more menacing)4. Madness5. Helpless hero (necessarily useless, but overwhelmed, unable to accomplish everything and/or take an active approach to the problem)6. Social injustice (a challenge to "life as usual")6. Religion gone wrong (a bleaker, maybe questioning look at religion and religious beliefs)The surprising thing is that it does this while remaining a fairly tame book. It's excessive violence is performed off-camera, as does the majority of its supernatural elements. Manfred's desire to leave his wife on the basis that their marriage is actually incestuous in order to marry his late son's fiance was sufficiently disturbing to me but far even from X-rated. Manfred is flighty and prone to a kind of mania. The hero is vastly overwhelmed, stays on the defense, and is unable to save the one thing most important to him. At the heart of the novel are pointed social and religious questions/commentary.One of the things that has fascinated me with this book is the retellings it has inspired in The Old English Baron and The Castles of Athlin & Dunbayne. Both of those are significantly less gothic than Otranto (especially Castles, which is not gothic at all), but are better retellings of the core romance between the hero and his love.All in all, I'd recommend this work to anyone interested in gothic literature. I'd also recommend The Old English Baron and The Castles of Athlin & Dunbayne (especially the latter) as better retellings of the romance in the book.
16 of 17 people found the following review helpful. Nick Groom's 2014 Oxford edition of "Otranto" is astonishing. By Mike Emery This reissue of "The Castle of Otranto" is a much needed updating of the book's supporting material for the 21st century. Groom has read the entire correspondence of Horace Walpole (which runs over 4000 letters, many of them long), and makes brilliant use of them in his new introduction to this book. The 29-page introduction places the novel in terms of the historical Goths, the archaism and sublimity that were all the rage in 1760s Britain, and the religious and political circumstances that led Walpole to write the book. Groom sifts recent scholarship with a profound knowledge of Walpole's life, times, and architectural proclivities. A new bibliography, chronology of Walpole (in paired columns labelled "Life" and "Historical and cultural background"), appendix with "Gothic contexts" (excerpts from other books by Walpole and Richard Hurd), and 20 pages of new explanatory notes on the text all make this edition essential. If you care about this novel, you must have this new edition of it.
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