Bloody Records: Manuscripts and Politics in The Castle of Otranto
Horace Walpole’s The Castle of Otranto (1764) famously begins when a giant medieval helmet plummets from the sky and fatally crushes Conrad, the only son and heir of Manfred the Prince of Otranto, on his wedding day. This event is a harbinger of things to come as more supernatural objects from the past descend in various ways on the castle to reveal the true history of Manfred’s ill-gotten rule over Otranto. As Manfred plots to divorce his wife and marry Conrad’s fiancée, Isabella, he stalks Isabella through a castle increasingly characterized by its medieval malevolence: a giant, armored hand appears on a banister; an army arrives bearing a colossal, ancient sword; a figure walks out of an old, musty portrait; a skeletal monk speaks. The novel reaches its climax when, in a case of mistaken identity, Manfred accidentally stabs his own daughter in a fit of rage. In the tumultuous denouement, the spirit of Alfonso the Good, the original Prince of Otranto and ghostly owner of the giant spectral objects that have mysteriously appeared throughout the story, materializes. He breaks the castle into ruins, reveals a seedy history of murder and forgery, and names a local peasant, Theodore, the rightful heir to Otranto before ascending into the sky in a giant fireball alongside St. Nicholas. Otranto’s wild supernatural machinations would become stock features of the Gothic novel, as would its medieval setting. In fact, critics have frequently treated the novel’s historicity as its most important formal feature. By setting Otranto in the murky medieval past, Walpole would seem to remove characters and readers alike from the empiricist ideologies of the Enlightenment and the demands of realist fiction, facilitating the Gothic’s unbelievable plot devices and sentimental effects. Understanding the
The Comic Tragedy of Mere Men and Women: The Ambiguously Distracting Use of Laughter in The Castle of Otranto and Its Prefaces
This paper attempts to analyze the curious effects of the comic scenes in The Castle of Otranto (1764) through a close reading of Walpole’s famous prefaces to the novel. The comic scenes evoke an incongruous dramatic response and contradict the claims made in the prefaces, according to which comic elements highlight dramatic ones. While being often thought of as indicative of a general aesthetic failure, the comic elements in this foundational text of the Gothic are indeed subtle, complex and artful. More precisely, Walpole’s curious use of laughter makes a complex appeal to an extra-dramatic level which undercuts the reader’s identification with the dramatic situations represented in the novel. Keywords: Horace Walpole; The Castle of Otranto; comedy; drama; Gothic novel; prefaces
The female thermometer : eighteenth-century culture and the invention of the uncanny
The work of leading scholar Terry Castle, called by the New York Times "always engaging...consistently fascinating," has helped to revolutionize thinking about lesbian studies and eighteenth-century literature. Reenvisioning the era as peculiarly alive with complexity, in which gender, sexuality, and culture are in constant flux, she offers provocative new theories on culture and sexual identity. This collection offers several of Castle's liveliest essays on female identity from the eighteenth century to the early twentieth century. Throughout the book are woven themes which are constant in Castle's work: fantasy, hallucination, travesty, transgression, and sexual ambiguity. Like the mythical thermometer of the title, which was purported to measure female lasciviousness, literature is filled with devices for quantifying elements of women's nature and sexuality which are hard to define-or uncomfortable to confront. Looking at images that mask or mystify female nature, like the masquerade or ghosts, these essays offer a challenging look at a fascinating range of issues involved in the exploration of gender studies. The inaugural volume in Oxford's Ideologies of Desire, The Female Thermometer foreshadows the thought-provoking and forward-looking nature of the books that will make up the series. Its revisionist version of eighteenth-century life will intrigue all those concerned with cultural studies and issues of gender relations throughout history.