Status
Available
Call number
Collection
Publication
Folio Society (1976). Hardcover in grey veined slipcase. Bound in quarter black cloth with marbled green paper boards. Introduction by Devendra P. Varma, lithographs by Charles Keeping.
Description
Classic Literature. Fiction. HTML: Widely considered the first gothic novel, and indeed an initiator of the whole genre, The Castle of Otranto is a 1764 novel by Horace Walpole. It tells the tale of the lord of a castle, Manfred, and his family. Manfred's son Conrad is about to be married to princess Isabella, but Conrad is killed; crushed to death by the fall of a huge helmet from above. In light of an ancient prophesy, this tragic event is especially ominous..
Media reviews
Thrillernord.it
Ci sono due modi per accostarsi a questa pietra miliare del gotico.
Leggerlo e goderne la bellezza, pur dopo 250 anni dalla stesura.
Il Castello di Otranto è infatti del 1764 ed è considerato universalmente il capostipite dei romanzi gotici, genere letterario che si è diffuso fra la fine del
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Settecento e l’inizio dell’Ottocento.
La trama così, semplicemente a riassumerla, ha dell’assurdo e del raccapricciante: un principe che è anche un usurpatore ed un tiranno in seno alla propria famiglia e al proprio popolo, intrighi che si dipanano uno via l’altro, eroine vergini che difenderanno il proprio onore a costo della vita, mogli troppo acquiescenti e sante, padri e frati che si mescolano, santi, villains, incesti sui generis, fantomatici giganti, apparizioni e prodigi di ogni sorta.
Del resto, “verso la metà del XVIII secolo, Gotick (come spesso veniva scritto nell’inglese settecentesco), non era più un generico sinonimo di teutonico o germanico, ma significava semplicemente medievale – quindi un termine da poter usare in contrapposizione a classico – da associarsi quindi a eccessivo, pittoresco, romantico”.
A volerlo riassumere, il romanzo narra della vita di un principe, il cui avo ha usurpato il trono di Otranto, che in attesa che l’erede maschio sposi la figlia del principe di Vicenza, attende con timore l’avverarsi della profezia che vagheggia della perdita del reame usurpato quando l’usurpatore stesso sarà diventato troppo grande per regnare ed al contempo perderà l’erede maschio. Quindi, seppur giovane, l’unico figlio maschio, secondogenito rispetto alla bellissima sorella Matilda, verrà immolato dal padre, per assicurare la dinastia.
Ma proprio il giorno del matrimonio, questo povero giovane imberbe morirà, schiacciato da un elmo gigantesco. Il principe Manfredi allora, in preda a pruderie e a visioni catastrofiche sul suo regno in pericolo, tenta in ogni modo di impossessarsi di Isabella, la giovane principessa, promessa sposa di suo figlio.
La quale, essendo orfana di madre ed avendo trovato nella principessa Ippolita, moglie del principe di Otranto, un surrogato di madre, fugge dinanzi al vecchio satiro e si rifugia nel vicino convento. Nel frattempo un villain che tenta di spiegare la presenza del gigantesco elmo e cerca poi di aiutare la dolce e virginale giovane Isabella a fuggire, viene incarcerato dall’oramai incontenibile Manfredi, che minaccia perfino di togliergli la vita.
Da qui in poi è un carosello in crescendo di riconoscimento tra pii frati e villain che discendono da antiche casate nobiliari, con servitù che continua ad avvistare nel castello pezzi del gigantesco essere che sembra essersi materializzato per portare a conclusione l’antica profezia.
In queste fosche e complicate circostanze, nelle quali il principe di Otranto è sempre più deciso a perseguire i suoi pruriginosi propositi con la giovane ed indifesa innocente, tanto da voler divorziare dalla integerrima e dolce moglie Ippolita, con la scusa che non potrà mai dargli un altro erede maschio, ecco comparire all’orizzonte anche un misterioso cavaliere con tutto il suo seguito, che arriva alle porte del Castello di Otranto per rivendicare il suo legittimo trono. Nel frattempo la figlia del principe di Otranto, la bella Matilda, di cui il padre si è sempre disinteressato in quanto femmina, incontra del tutto casualmente il giovane villain che si è scoperto essere in realtà il vero pretendente al trono di Otranto.
Non proseguiremo in questa ribalda cavalcata per non anticipare al lettore chi vivrà e chi morrà, chi sarà il vero principe di Otranto, chi è il gigante venuto a sistemare la questione della successione al trono e che fine faranno le tre protagoniste femminili di questa anche esilarante – da un certo punto di vista – suggestiva commedia drammatica.
Parlavamo di due modi di leggere questo incredibile romanzo pittoresco, che scomoda finanche il sommo bardo.
Essere curiosi. Leggere le prefazioni alle due edizioni e frugare tra le notizie perché in questo romanzo dove anche la dualità è fondamentale, ci sono simbologie che a conoscerle in anticipo, rendono ancora più godibile la lettura di questo romanzo.
Innanzitutto la scelta di Walpole, nella prima edizione – escamotage del resto già utilizzato – di presentare il testo come la traduzione di un manoscritto stampato a Napoli nel 1529 e ritrovato poi nella biblioteca di un’antica dimora del nord dell’Inghilterra.
Nella seconda edizione, d’altronde, visto il consenso del pubblico, Walpole svela la paternità dell’opera e rende necessaria da parte dell’autore una spiegazione sul perché e da quale humus egli l’abbia composta. Ma mentre con la prima stesura, il romanzo era stato inserito nel filone del romanzo medievale, una volta scoperte le carte da parte di Walpole, gli stessi critici ed una parte del pubblico ribaltarono il proprio gradimento dell’opera, dichiarandola, o meglio, riducendola ad una semplice prosa romantica, troppo assurda e rocambolesca.
Per sua stessa ammissione, Walpole aveva cercato di scrivere ciò che doveva essere il trait d’union tra il novel e il romance, visto anche l’acceso dibattito del tempo su cosa dovesse essere la letteratura. Se cioè i romanzi dovessero essere o meno rappresentativi della vita o più puramente immaginari (naturale contro romantico).
Sia quel che sia, Walpole con il suo Il Castello d’Otranto delineò e fissò ciò che da qual momento in poi divennero caratteristiche comuni per i romanzi gotici e di cui abbiamo già accennato poc’anzi: il castello con annessa foresta, finanche grotte, abbazie o santuari, il vile tiranno persecutore, la vergine perseguitata e l’eroe integerrimo, in un ambiente fosco e abitato da oscure presenze.
Per concludere, una commistione tra ricerca e lettura del romanzo, come di consueto, risulterà essere la più confacente a questo romanzo che, per proseguire sul concetto di dualità, si diletta fra bianco e nero, tra buono e cattivo, tra principe e villain, tra virginale e depravato, tra santo e demoniaco, quasi a ricalcare la tragedia comica o la tragica commedia che Shakespeare, ammirato grandemente da Walpole, ha lasciato ai posteri.
A cura di Marina Morassut Show Less
User reviews
LibraryThing member george.d.ross
This story is often cited as the first/one of the first gothic novels, but it's hard to believe since even at this early date it already reads like pastiche. Far from being predictable archetypes, the main characters are constantly upsetting our expectations: the pure, steadfast maiden turns out to
Other than that, I don't know that I'd call Otranto a masterpiece, but it's definitely an interesting historical document.
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be gossip-y and backstabbing, the gallant hero tries to save the maiden and winds up accidentally stabbing her father, the pious friar turns out to be weak and self-serving... Certainly not what I was expecting from a "classic" gothic novel. Other than that, I don't know that I'd call Otranto a masterpiece, but it's definitely an interesting historical document.
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LibraryThing member fyrefly98
Summary: When the Lord of Otranto's only son is killed on the morning of his wedding day (crushed by a giant metal helmet that appeared out of nowhere, no less), the Lord begins to scheme. In a desperate attempt to secure more heirs, he pursues Isabella, his son's promised bride. She
Review: Holy cow. People used to read this? This is the highest form of melodrama, coupled with a bizarre kind of ghost story, and all rendered in prose so overwrought and purple that it's approaching ultraviolet. I couldn't ever get into the story because I kept thinking "....really?!?", and there was so much wailing and clutching at clothing that I never sympathized with any of the characters, either. I understand that the over-done and over-emphasized version of *everything* was the style, and that by reading this out of context and out of its time, I'm almost certainly judging it by an unfair set of standards. But MY GOD, everything about this was just So Much - so much drama, so many plot twists, so many coincidences and strange unexplained happenings, so many epiphanies and raging emotions and Dramatic Speeches - that it wound up feeling like a high school drama production. I feel like Shakespeare would have read this and been like "Damn, that's a lot of melodrama. Now let me go see if I can squeeze another death into the end of Hamlet." 2 out of 5 stars.
Recommendation: It didn't do much for me, but I'm a total Philistine and I read it totally devoid of any historic context. Those who are better-versed in the literary period than I am will almost definitely have an easier time of things.
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(understandably) flees in terror, aided by a young villager, and so begins several days of terror and unbelievable happenings, complete with walking portraits, giant swords, black knights, secret tunnels, long-lost sons, mysterious prophecies, deathbed confessions, and love at first sight.Review: Holy cow. People used to read this? This is the highest form of melodrama, coupled with a bizarre kind of ghost story, and all rendered in prose so overwrought and purple that it's approaching ultraviolet. I couldn't ever get into the story because I kept thinking "....really?!?", and there was so much wailing and clutching at clothing that I never sympathized with any of the characters, either. I understand that the over-done and over-emphasized version of *everything* was the style, and that by reading this out of context and out of its time, I'm almost certainly judging it by an unfair set of standards. But MY GOD, everything about this was just So Much - so much drama, so many plot twists, so many coincidences and strange unexplained happenings, so many epiphanies and raging emotions and Dramatic Speeches - that it wound up feeling like a high school drama production. I feel like Shakespeare would have read this and been like "Damn, that's a lot of melodrama. Now let me go see if I can squeeze another death into the end of Hamlet." 2 out of 5 stars.
Recommendation: It didn't do much for me, but I'm a total Philistine and I read it totally devoid of any historic context. Those who are better-versed in the literary period than I am will almost definitely have an easier time of things.
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LibraryThing member ctpress
A castle and abbey with secret tunnels. A dark landscape, lecherous villains, supernatural visions, a hero with a secret lineage, and beautiful and imperiled women (with a tendency toward the hysterical).
What more can you ask for :)
As an exploration of the history of literature this
This is the kind of literature Catherine Morland loves in Northanger Abbey - as she asks in anticipation of yet another thrilling read: “Is it really horrid?”. Yes, Catherine. It is indeed.
What more can you ask for :)
As an exploration of the history of literature this
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“granddaddy” of the gothic novel is interesting and a lot of fun. This is not my favorite genre at all - and the plot is so contrived that you want to laugh - and do laugh a lot of times.This is the kind of literature Catherine Morland loves in Northanger Abbey - as she asks in anticipation of yet another thrilling read: “Is it really horrid?”. Yes, Catherine. It is indeed.
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LibraryThing member souloftherose
I wanted to read a gothic novel to help me better understand what Jane Austen is satirizing in Northanger Abbey. I picked The Castle of Otranto purely because it was the shortest.
The book (published in 1764) starts with an introduction from Horace Walpole explaining that this is an English
In fact, none of this was true; it was written in English by Horace Walpole in the 18th century, but at the time it was considered much more worthwhile to read a true story than a fictional one. Interestingly the wikipedia article on the book seems to indicate that the work was critically quite well received until Walpole 'fessed up and admitted he'd made up the whole thing when all the critics promptly decided that it was worthless fluff.
Once you're past the introduction this gothic tale kicks off with someone being crushed to death by a giant helmet:
"he beheld his child dashed to pieces, and almost buried under an enormous helmet, an hundred times more large than any casque ever made for human being, and shaded with a proportionate quantity of black feathers"
Right.
All the other gothic staples are included of course; innocent virgins, noble knights, princes in disguise, incest, duels, gloomy castles and ghosts.
It was difficult for me to take this book as seriously as I assume the original 18th century readers took it. Most of the scenes which are presumably supposed to be scary seem ridiculous to a modern reader (death by giant helmet being the prime example). There are also a lot of scenes which I think may have been intended to be comic as the introduction notes that 'some persons may perhaps think the characters of the domestics too little serious for the general cast of the story'; there were some wonderful scenes very reminiscent of Shakespeare where the domestics were constantly interrupting each other or wandering from the point to the infuriation of their lords and ladies.
Ultimately, this was a short, enjoyable if somewhat strange read. Reading the free kindle version I definitely felt the lack of any explanatory notes to help me put this work in context but I think it was worth reading even so as it's given me a better understanding of Northanger Abbey.
The book (published in 1764) starts with an introduction from Horace Walpole explaining that this is an English
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translation he has made of an Italian manuscript dating from 1529; however the introduction makes clear that it's possible that the original work was in fact written much earlier. Walpole also states his belief that the story he has translated is based on truth and events that must have really taken place In fact, none of this was true; it was written in English by Horace Walpole in the 18th century, but at the time it was considered much more worthwhile to read a true story than a fictional one. Interestingly the wikipedia article on the book seems to indicate that the work was critically quite well received until Walpole 'fessed up and admitted he'd made up the whole thing when all the critics promptly decided that it was worthless fluff.
Once you're past the introduction this gothic tale kicks off with someone being crushed to death by a giant helmet:
"he beheld his child dashed to pieces, and almost buried under an enormous helmet, an hundred times more large than any casque ever made for human being, and shaded with a proportionate quantity of black feathers"
Right.
All the other gothic staples are included of course; innocent virgins, noble knights, princes in disguise, incest, duels, gloomy castles and ghosts.
It was difficult for me to take this book as seriously as I assume the original 18th century readers took it. Most of the scenes which are presumably supposed to be scary seem ridiculous to a modern reader (death by giant helmet being the prime example). There are also a lot of scenes which I think may have been intended to be comic as the introduction notes that 'some persons may perhaps think the characters of the domestics too little serious for the general cast of the story'; there were some wonderful scenes very reminiscent of Shakespeare where the domestics were constantly interrupting each other or wandering from the point to the infuriation of their lords and ladies.
Ultimately, this was a short, enjoyable if somewhat strange read. Reading the free kindle version I definitely felt the lack of any explanatory notes to help me put this work in context but I think it was worth reading even so as it's given me a better understanding of Northanger Abbey.
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LibraryThing member bzedan
Oh Transport! Man, this book is a freaking lark. I can see how it's beautiful histrionics made for a smashing harliquenade. As Walpole said, "Everybody who takes this book seriously has been duped." Lovely.
LibraryThing member P_S_Patrick
Widely accepted as the original Gothic novel, it establishes something of the tone and tropes that most readers will recognise in later, and better works. If you’re expecting Poe, Lovecraft, Shelley, or similar in intensity of mood, ingenuity of plot, or anything resembling immersive credibility,
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then you won’t find it here. Take it for what it is though, an original, and for its time (1765) groundbreaking little piece of whimsical artifice, and you might enjoy it. Show Less
LibraryThing member jkorta
The book that started the taste for gothic novels in England and later Germany and France, this is by no means the best of the genre but holds pride of place. Replete with ghosts, set in the heart of the dark ages and within the walls of a mood-setting castle, it's no surprise this tale sparked the
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imaginations of its readers and continues to cast its spell today. Show Less
LibraryThing member BridgetMarie
Absolutely over the top and more wonderful for it, READ THE TWO INTRODUCTIONS, it makes all the difference in the world, especially if you know the different reactions from his audiences. I had to read this book for a class and ended up keeping it instead of turning it in.
Credited as being the
Credited as being the
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first of the Gothic horror genre, Walpole hits many of the stereotypes (the damsel in distress, the Pagan curse handed down through Christian generations, etc) and thumbs his nose at others. I don't even like Gothic fiction and I kept this book. Show Less
LibraryThing member WeeTurtle
It's dark, it's supernatural, it's emotional, and outrageous enough to see how it spawned a trail of works and a new literary genre. It's brief, if one considers events and not the length of the sentences in the heavily worded dialogue, so it's almost best to go in blind. It starts fast, so there
I read the first two chapters but found the flow of the narrative and sparse line breaks in my text to be a dizzying read so I switched to audio book and found it easier to follow and easier to feel and enjoy. If you prefer reading to audio, I recommended glancing at the state of the text to make sure it won't be a headache to follow. It wasn't so much difficult, I feel, as an effort of stamina so as not to lose my place from glancing away for a moment. Perhaps this actually assists with the gasping wonder with which the characters take in the events at Otranto.
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isn't much place for soaking in plot. I read the first two chapters but found the flow of the narrative and sparse line breaks in my text to be a dizzying read so I switched to audio book and found it easier to follow and easier to feel and enjoy. If you prefer reading to audio, I recommended glancing at the state of the text to make sure it won't be a headache to follow. It wasn't so much difficult, I feel, as an effort of stamina so as not to lose my place from glancing away for a moment. Perhaps this actually assists with the gasping wonder with which the characters take in the events at Otranto.
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LibraryThing member elenchus
"Let the critics have their own way; they give me no uneasiness. I have not written the book for the present age, which will endure nothing but cold common sense".
-- Walpole, letter to Madame du Deffand (1765?)
The novel doesn't read as smoothly or engagingly as a thriller written today, but it's
These are punctuated with mad designs and intrigues by a large cast of characters, scheming against one another and initially it is bedlam, unclear to me which are in the right and deserving of my support.
"It was his object to unite the marvellous turn of incident, and imposing tone of chivalry, exhibited in the ancient romance, with that accurate exhibition of human character, and contrast of feelings and passions, which is, or ought to be, delineated in the modern novel."
-- Sir Walter Scott, Introduction (1811)
Scott later chastises Walpole for putting too much into the novel, overfilling it with supernatural events such that our fear and terror are overwhelmed. I allow there are a great many of what now count as cliché and stereotype; for me these keep the story aloft. If anything, with a poor recollection of the details from reading years ago, I worried there would be too little in the way of weird or wondrous, so Walpole's largesse was welcome.
"The Castle Of Otranto ... is not so much a novel as a state of mind."
-- Marvin Mudrick, Introduction (1963)
This 2022 re-reading was more or less an impulse read in the spirit of Hallowe'en. I should consider Vathek for next season.
-- Walpole, letter to Madame du Deffand (1765?)
The novel doesn't read as smoothly or engagingly as a thriller written today, but it's
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chock-a-block full of arresting scenes and images: the Prince's teen heir crushed beneath a giant casque falling from nowhere; an ancestral portrait leaves its frame, displeased with events; rumour of incest and forced betrothal; secret passages and trap doors; mute knights; duels between champions; a hermit in haunted caverns by the sea; riddles and portents; a praying skeleton & a bleeding statue.These are punctuated with mad designs and intrigues by a large cast of characters, scheming against one another and initially it is bedlam, unclear to me which are in the right and deserving of my support.
"It was his object to unite the marvellous turn of incident, and imposing tone of chivalry, exhibited in the ancient romance, with that accurate exhibition of human character, and contrast of feelings and passions, which is, or ought to be, delineated in the modern novel."
-- Sir Walter Scott, Introduction (1811)
Scott later chastises Walpole for putting too much into the novel, overfilling it with supernatural events such that our fear and terror are overwhelmed. I allow there are a great many of what now count as cliché and stereotype; for me these keep the story aloft. If anything, with a poor recollection of the details from reading years ago, I worried there would be too little in the way of weird or wondrous, so Walpole's largesse was welcome.
"The Castle Of Otranto ... is not so much a novel as a state of mind."
-- Marvin Mudrick, Introduction (1963)
This 2022 re-reading was more or less an impulse read in the spirit of Hallowe'en. I should consider Vathek for next season.
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LibraryThing member billiecat
Granting that this book has an important place in popular literature; granting that it influenced 'Gothic' writing for decades, and that its echoes can be heard today, granting all this, unless this is assigned to you in some class, don't waste your time. I have read other early Gothic novels, The
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Monk, Melmoth the Wanderer, Frankenstein, etc., and crude as they were they were light years ahead of Otranto. Spare yourself. Two stars for its historical curiosity, nothing else. Show Less
LibraryThing member adastra
Wow, this is terrible.
LibraryThing member SlySionnach
The original Gothic novel sets a standard of melodrama that soap operas would be proud to follow. And I say that in a good way. With hidden sons, love triangles, returning from the dead and ghosts and giants abounding, this quick read is good for a glimpse into what shaped the Gothic era of
Not wanting to say too much about the plot, since the story is only 92 pages long, I'll try to summarize it the best I can. Manfred, the current inhabitant of Otranto, is living according to a legacy that the true owner will come and take it from him. In an effort to prevent that, he decides that he must align himself with the rival family by marriage. Of course, nothing goes as planned.
If you're interested in Gothic literature, why not read the source? It's quick, it's easy, and it's bound to entertain you.
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writing. Not wanting to say too much about the plot, since the story is only 92 pages long, I'll try to summarize it the best I can. Manfred, the current inhabitant of Otranto, is living according to a legacy that the true owner will come and take it from him. In an effort to prevent that, he decides that he must align himself with the rival family by marriage. Of course, nothing goes as planned.
If you're interested in Gothic literature, why not read the source? It's quick, it's easy, and it's bound to entertain you.
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LibraryThing member amerynth
I can appreciate the impact that Horace Walpole's "The Castle of Otranto" had on storytelling and literature, but it's a novel that certainly hasn't aged well. Considered the first Gothic novel, it weaves together a terrific tale of tragedy with supernatural elements just accepted by everyone as
The story centers around a prince named Manfred, the villain of the piece, and the tragedies that befall his family because his grandfather usurped the throne. There are romantic elements, including a fight between two girls over a future husband as well as plenty of fainting and coincidences to propel the story along.
I found the plot interesting, even while rolling my eyes at the characters' reactions. This is a definitely a book that I'm glad I read just for the history behind it, rather than for the story itself.
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real.The story centers around a prince named Manfred, the villain of the piece, and the tragedies that befall his family because his grandfather usurped the throne. There are romantic elements, including a fight between two girls over a future husband as well as plenty of fainting and coincidences to propel the story along.
I found the plot interesting, even while rolling my eyes at the characters' reactions. This is a definitely a book that I'm glad I read just for the history behind it, rather than for the story itself.
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LibraryThing member Cecrow
The original gothic novel, this reads preposterously if you don't know its pedigree. Gigantic elements of armour appear in the story without warning (though they are warnings in themselves), crushing the hapless and frightening other characters who respond as anyone might when faced with such
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inexplicable events: horror, shock, dismay, fear. It's the meshing of these that brought this novel lasting acclaim, however ridiculous its events now appear to a modern reader. I'm afraid I laughed in a few places I wasn't supposed to, but with a better understanding came a greater appreciation. It's a comfortably short read, and at least an interesting curiosity. Show Less
LibraryThing member SheReadsNovels
When I first opened this book I was confronted by page after page of almost continuous text with virtually no paragraph breaks and no quotation marks or any way of marking when one person stops speaking and the next begins. This made it difficult to follow the dialogue but otherwise the story is
Manfred, the Prince of Otranto, has arranged a marriage between his fifteen year old son Conrad and the princess Isabella. However, on the day of the wedding Conrad is found crushed to death in the courtyard beneath an enormous black feathered helmet which appears to have fallen from the sky. As his son is obviously now in no position to go ahead with the wedding, Manfred decides to marry Isabella himself...but Isabella has other ideas. Cue a never-ending chain of misunderstandings, coincidences and mayhem.
The Castle of Otranto is historically important because it was the first gothic novel - complete with haunted castles, underground tunnels, damsels in distress, knights, ghosts and paintings that move - but don't expect a piece of great literature. In places the plot is so ridiculous and the writing so melodramatic that it's actually hilarious.
The Castle of Otranto is funny and entertaining – and very short – but I can't imagine ever wanting to read it again. For a better introduction to gothic fiction I would recommend The Mysteries of Udolpho by Ann Radcliffe, which is a longer book but much better written.
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easy enough to understand considering it was published in 1764.Manfred, the Prince of Otranto, has arranged a marriage between his fifteen year old son Conrad and the princess Isabella. However, on the day of the wedding Conrad is found crushed to death in the courtyard beneath an enormous black feathered helmet which appears to have fallen from the sky. As his son is obviously now in no position to go ahead with the wedding, Manfred decides to marry Isabella himself...but Isabella has other ideas. Cue a never-ending chain of misunderstandings, coincidences and mayhem.
The Castle of Otranto is historically important because it was the first gothic novel - complete with haunted castles, underground tunnels, damsels in distress, knights, ghosts and paintings that move - but don't expect a piece of great literature. In places the plot is so ridiculous and the writing so melodramatic that it's actually hilarious.
The Castle of Otranto is funny and entertaining – and very short – but I can't imagine ever wanting to read it again. For a better introduction to gothic fiction I would recommend The Mysteries of Udolpho by Ann Radcliffe, which is a longer book but much better written.
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LibraryThing member Crypto-Willobie
What a silly book! My nose hurts from snorting. At first I was thinking "This would be great filmed by Ed Wood." but then I decided it would be more suited to a staging by the Monty Python troupe. It even features a giant foot at one point!
LibraryThing member David.Alfred.Sarkies
To put it blunt, this book is rubbish, and I must admit that my English lecturer, when he spoke on this book, pretty much said just as much. In fact the only reason the English Department included this book on the reading list is because it has the distinction of being the first gothic horror book
Anyway, this is a classic example of a child of a very famous person using his father's influence to get rubbish published. I suspect that it happens quite a lot these days as well (Jessica Rudd), though I must admit that even being able to pull strings to get books published does not necessarily mean that anybody will actually read, and then recommend, the book (though that seems not to be the case with Campaign Ruby).
You might actually be wondering who Horace Walpole is and what is father did to make him so famous. To be quite honest with you, until I had gone to the lecture on this book, I had never heard of Horace Walpole, or any other Walpoles that he might have been related to, however, if you were living in England in 1764, you certainly would have heard of Robert Walpole, namely because he was, next to the king, the most powerful man in England. In fact, Robert Walpole holds the record for being the longest serving British Prime Minister ever (twenty-one years in total). These days, ten years as Prime Minister is an effort, however unless the country has descended into a one party state, it is highly unlikely, in today's political climate, that anybody could last twenty years (though Robert Menzies did last 16 and Franklin Delanore Roosevelt lasted 13).
It was not so much different back then either, though the voting franchise was severely restricted and cabinet appointments were made by the king. Getting elected into parliament, especially if you were a member of the aristocratic class, was not just easy, it was a right. There was no universal franchise, or proper electoral boundaries. In fact, one could live in an electorate (known as a borough) where the only person who could vote was you, so whenever an election came along you would vote for yourself (and why not) and you would automatically get elected. However, politicians didn't get paid back then, which also made it difficult for the lower classes to become politicians).
I seem to have written nothing about the book, but then again, it is such rubbish that I personally really don't want to write anything about it. As for the concept of Gothic Horror, in a way it doesn't actually strike any chords in my memory. I guess I do not see any distinction with Gothic Horror. Hell, I can't even define it (not that I really want to) or even has the desire to jump over to Wikipedia to see if they say anything about it. I guess I am simply not interested in determining any definition for the genre. Okay, there are other 'Gothic Horror' books on my read list, however I would probably just put them more into horror than Gothic Horror. If anything, though, thinking over the books and films we explored, I suspect Gothic Horror deals more with concepts of horror (much like what I wrote about in Carrie) rather than a simple slasher flick. Silence of the Lambs is a horror (and a very good horror at that) but it is not a slasher flick. Far from it. However, this book is horror in name only. If I really wanted to categorise it, I would probably put it into a category called rubbish, however, that is what the rating is for.
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written. Okay, maybe it is the first, but it really does very little to make it stand out from among all the other books of much higher quality that were written afterwards. Hey, they even had an essay question on it.Anyway, this is a classic example of a child of a very famous person using his father's influence to get rubbish published. I suspect that it happens quite a lot these days as well (Jessica Rudd), though I must admit that even being able to pull strings to get books published does not necessarily mean that anybody will actually read, and then recommend, the book (though that seems not to be the case with Campaign Ruby).
You might actually be wondering who Horace Walpole is and what is father did to make him so famous. To be quite honest with you, until I had gone to the lecture on this book, I had never heard of Horace Walpole, or any other Walpoles that he might have been related to, however, if you were living in England in 1764, you certainly would have heard of Robert Walpole, namely because he was, next to the king, the most powerful man in England. In fact, Robert Walpole holds the record for being the longest serving British Prime Minister ever (twenty-one years in total). These days, ten years as Prime Minister is an effort, however unless the country has descended into a one party state, it is highly unlikely, in today's political climate, that anybody could last twenty years (though Robert Menzies did last 16 and Franklin Delanore Roosevelt lasted 13).
It was not so much different back then either, though the voting franchise was severely restricted and cabinet appointments were made by the king. Getting elected into parliament, especially if you were a member of the aristocratic class, was not just easy, it was a right. There was no universal franchise, or proper electoral boundaries. In fact, one could live in an electorate (known as a borough) where the only person who could vote was you, so whenever an election came along you would vote for yourself (and why not) and you would automatically get elected. However, politicians didn't get paid back then, which also made it difficult for the lower classes to become politicians).
I seem to have written nothing about the book, but then again, it is such rubbish that I personally really don't want to write anything about it. As for the concept of Gothic Horror, in a way it doesn't actually strike any chords in my memory. I guess I do not see any distinction with Gothic Horror. Hell, I can't even define it (not that I really want to) or even has the desire to jump over to Wikipedia to see if they say anything about it. I guess I am simply not interested in determining any definition for the genre. Okay, there are other 'Gothic Horror' books on my read list, however I would probably just put them more into horror than Gothic Horror. If anything, though, thinking over the books and films we explored, I suspect Gothic Horror deals more with concepts of horror (much like what I wrote about in Carrie) rather than a simple slasher flick. Silence of the Lambs is a horror (and a very good horror at that) but it is not a slasher flick. Far from it. However, this book is horror in name only. If I really wanted to categorise it, I would probably put it into a category called rubbish, however, that is what the rating is for.
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LibraryThing member Scribbler1
Brilliantly original at the time of its publication in the eighteenth century, The Castle of Otranto is distinguished as being the first work of Gothic fiction. It has always been the recipient of mixed reviews. It’s worth bearing in mind the enormous fun Horace Walpole had in writing the novel;
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the humor in it seems sadly lost on many readers and critics. It is at once thrilling, funny and puzzling but remains a joy to read in the twenty first century. I recommend the Penguin Classics edition which contains sufficient notes and supplementary text necessary for a proper appreciation of the work. Show Less
LibraryThing member shabacus
It is always difficult to review a book that is considered a classic. On the one hand, you have to discuss how the book was received in its time, what it added to the literature of its day. On the other, you have to balance that with its effect on the modern reader.
The fact that "The Caste of
However, as a novel for the modern reader, it fails to grip. It is far too rooted in its past to be much more than a footnote of literature for casual, modern fans of Gothic stories. Characters are shallow by comparison to its descendents The supernatural elements run from mild to goofy to a reader already accustomed to bleeding statues or paintings that come to life.
Recommendation: If you approach it as an early example of the genre, you will enjoy it. As a standalone novel, it doesn't have the staying power.
The fact that "The Caste of
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Otranto" was successful in its day is undisputed. It is typically held up as the genesis of the Gothic novel, with its dual focus on the supernatural and the effect of the supernatural on human emotion. The realistic, introspective character study is juxtaposed with things that are unrealistic and unbelievable. Although fantastical elements certainly existed before this time in literature, they had not been tackled with a modern sensibility of character. To this book, we owe not only the Gothic stories of Edgar Allen Poe, the Bronte sisters, etc, but also the entirety of modern fantasy.However, as a novel for the modern reader, it fails to grip. It is far too rooted in its past to be much more than a footnote of literature for casual, modern fans of Gothic stories. Characters are shallow by comparison to its descendents The supernatural elements run from mild to goofy to a reader already accustomed to bleeding statues or paintings that come to life.
Recommendation: If you approach it as an early example of the genre, you will enjoy it. As a standalone novel, it doesn't have the staying power.
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LibraryThing member Kaydence
The Castle of Oranto describes a tyrant of a father that wants to have an heir to ensure that his property stays within the family. However, this tyrant actually was the recipient of the land through unlawful means. There is a supernatural curse upon the family that states whenever the true heir of
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the lands becomes too big then the tyrant would be overthrown. The first catastrophe that happens is the only son of the tyrant is slain on his wedding day. Along with this discovery is a gigantic helmet. The tyrant then decides that he is going to divorce his wife and marry the woman that he had secured for his son. When he divulges this plan to the bride to be (Isabella), she flees the castle for the church on the property. A peasant is charged with the murder of the tyrant’s son, but gets away and helps Isabella escape. A chase ensues. The tyrant looks for Isabella, but finds the peasant. At this time, his servants swear they see a giant foot. The story then has many more twists and turns until almost everyone dies, or is about to die. It was very entertaining. I think I have found a new/old genre to enjoy. As a gothic novel, it has a supernatural aspect (the giant), a lady in distress (actually all of them are at some point in time), and the whole story takes place in a castle that has endless mazes, a haunted forest with caves, and a few hidden passages. The book is very suspenseful and a little overdramatic, especially in dealings with love, jealousy, and possible death. Show Less
LibraryThing member katelisim
3 Stars
I read this one for my British Literature class.
The Prince of Otranto, Manfred, arranges the marriage of his 15 yr old son, Conrad, to Princess Isabella. An unfortunate event on the wedding day, in the form of a huge falling helmet from the sky, kills poor Conrad. Instead of sending
This is the original gothic novel. And being such, is filled with castles, underground tunnels, ghostly activity, and a prophecy.
I thought this book was a fast fun read. Some of its over dramatic bits were hilarious, including the line "Ah me, I am slain" -- just wonderful. It was easier to read than I thought, with it being written well over 200 yrs ago. The story also moved nice and fast, instead of getting hung up on trivial details like so many modern novels do.
I read this one for my British Literature class.
The Prince of Otranto, Manfred, arranges the marriage of his 15 yr old son, Conrad, to Princess Isabella. An unfortunate event on the wedding day, in the form of a huge falling helmet from the sky, kills poor Conrad. Instead of sending
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Isabella back home, Manfred decides he will marry her, since his wife hasn't produced a suitable heir for him. Of course, Isabella is completely against that.This is the original gothic novel. And being such, is filled with castles, underground tunnels, ghostly activity, and a prophecy.
I thought this book was a fast fun read. Some of its over dramatic bits were hilarious, including the line "Ah me, I am slain" -- just wonderful. It was easier to read than I thought, with it being written well over 200 yrs ago. The story also moved nice and fast, instead of getting hung up on trivial details like so many modern novels do.
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LibraryThing member cdeuker
Interesting as part of English literary history, but not much else. Manfred is the usurper of Otranto. His son is killed by a huge helmet that falls on him--God definitely giving Manfred a hint. But Manfred isn't listening. He decides he needs a new wife to give him a new son, and thereby sets in
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action his own downfall. Surprisingly, he lives, though he does (along the way) murder his daughter. The rightful heir of Otranto takes possession. All ends . . . not quite happily . . . but things are set to right. Show Less
LibraryThing member john257hopper
This is a gem of an early (1764) Gothic novel. There are some moments of genuine horror and a tense drive to the plot. Great stuff and the ending is very downbeat.
LibraryThing member autumnesf
Crazy story about a giant knights parts showing up in a cursed castle.
Subjects
Awards
Language
Original language
English
Original publication date
1764
Local notes
The Castle of Otranto tells the story of Manfred, lord of the castle, and his family. The book begins on the wedding-day of his sickly son Conrad and princess Isabella. Shortly before the wedding, however, 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 prophetic curse. 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.
This work 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"). Written in 1764 during Horace Walpole's tenure as MP for King's Lynn.
This work 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"). Written in 1764 during Horace Walpole's tenure as MP for King's Lynn.