The Castle of Otranto is a Gothic novel in its nascent stage. As the very first of its kind, perhaps it is only natural for it to be in such a state. The mystery and horror elements, which are the hallmarks of this genre, are still in their early development and require further refinement. This is the perspective of a modern reader. However, it should be noted that this is an 18th-century novel, and I have no way of knowing the tastes and expectations of the readers of that era. It is quite possible that they might have found the mystery and horror elements to be sufficient and satisfying. For this reader, though, they were more entertaining than truly terrifying! It may sound absurd, but the supernatural incidents such as helmets falling spontaneously, the appearance of menacing skeletons, the sighing of portraits on the wall, and the loud voices foretelling the downfall of the power usurper were rather comical than spine-chilling.

Nevertheless, despite the fact that the Gothic element in this novel was in its infancy, it did not prevent this reader from thoroughly enjoying this short novel. It was an overall enjoyable read. Throughout, she felt as if she were witnessing a dramatic comedy unfold before her eyes. There was an abundance of melodrama, which only increased her amusement. Make no mistake, there is also tragedy in the story. However, the intended emotions failed to resonate with this reader as they were overshadowed by the much stronger current of comedy.

This reader is not overly inclined to recommend books as she firmly believes that different readers have different desires and tastes, and imposing one's views on others regarding a book is rather a restriction on literary freedom. Nevertheless, she wishes to make an exception in this case, especially if the Goodreads ratings might deter any potential reader from giving it a try. So, dear readers, if you have an inclination to read this, take courage and go ahead. Whatever disappointment you may experience, you will still have a good time. That is a guarantee.

A Pretty Disappointing Beginning to the Gothic Horror Genre

On 24 August 2012, I must say bluntly that this book is rubbish. My English lecturer pretty much said the same when he talked about it. The only reason the English Department included it on the reading list is that it's the first gothic horror book. But being the first doesn't make it stand out among the many higher-quality books written later. They even had an essay question on it!

This is a classic example of a child using his father's influence to get rubbish published. I suspect it still happens a lot these days. You might wonder who Horace Walpole is and what his father did. Well, until I went to the lecture on this book, I'd never heard of him. But in 1764 in England, you would have heard of Robert Walpole. He was the most powerful man next to the king and holds the record for the longest-serving British Prime Minister. Back then, the voting franchise was restricted, and cabinet appointments were made by the king. Politicians didn't get paid, making it hard for the lower classes to become politicians.

I haven't written much about the book because it's so bad. As for the concept of Gothic Horror, it doesn't really resonate with me. I don't see any distinction, can't define it, and don't even want to look it up on Wikipedia. There are other 'Gothic Horror' books on my list, but I'd probably put them more in the horror category. If anything, Gothic Horror seems to deal more with concepts of horror rather than being a simple slasher flick. This book is horror in name only. If I had to categorize it, I'd put it in the 'rubbish' category, which is what the rating is for.

Note, Oct. 26, 2022: I just edited this review slightly, to supply an omitted predicate phrase in one clause, which I didn't catch until I did a reread just now. I'm amazed that I'd missed that before!

To fully appreciate the significance of this novel, we have to understand the literary and cultural climate of Western Europe in 1764. The 1500s and 1600s witnessed unprecedented social, cultural, religious, economic, technological, and political changes. These changes made the literate classes acutely aware that they had entered a new era of human history, one that marked a sharp break with the immediate past. A flood of new inventions and discoveries enhanced the prestige of science and Reason as the only legitimate fountainheads of truth. Supposed clear-eyed, logical rationalism was in vogue, while "superstition" and sloppy human emotions were considered passé. At the same time, the Renaissance had sparked a rebirth of awareness and appreciation for the thought and culture of classical antiquity, which came to be seen as the embodiment of rationality, order, sobriety, and harmonious balance in society, art, literature, and architecture. (Of course, this represents a very selective recapturing of the Greco-Roman world, ignoring all of its more sordid and Dionysian aspects; but it passed for reality in the minds of 18th-century intellectuals.)

This school of thought shaped the way prose literature was written in most of the 18th century. There were very definite rules, and the critics of that day parroted and enforced them. Sentences were ponderous and complex, but carefully balanced in terms of the number of clauses, modifiers, etc. Elegance and regularity of style, in adherence to ancient models, were everything, and writers cultivated a dry, ponderous tone devoid of emotion. They did not try to arouse feeling in the reader; the appeal was strictly to the dispassionate intellect. In fiction, the subject matter was their own time, not the past, and stories were to have a plot that a "reasonable" person could believe. (Gulliver's Travels is a seeming exception that tests the rule, but even there, Swift writes his tale as a dispassionate, purportedly real travel account, and Juvenalian cultural satire trumps thrill or adventure in the story-telling.) The supernatural rarely appears, and if it does, as in stories like "A True Account of the Apparition of One Mrs. Veal" or "The Vision of Mirzah," it's just a rhetorical device for religious or philosophical instruction, not a menacing element with a real scare factor.

Enter Horace Walpole. :-) He wasn't enamoured of the tastes of an age that, as he wrote in a letter in 1767, "wants only cold reason." Rather, he aimed quite frankly to, as Sir Walter Scott would write in his introduction to this novel's 1811 edition, "excite the passions of fear and of pity." Moreover, he was quite interested in (gasp!) the Middle Ages, set his tale squarely in medieval Italy during the Crusades (mid-12th or 13th century), and treated medieval people and culture as worth knowing about. And he aimed to restore a kind of storytelling that gave the writer freedom to let "the powers of fancy" range through "the boundless realms of invention," thus "creating more interesting situations" (Preface to the 2nd ed.), without being shackled to conventional realism. So, with this book, he created the first modern English novel set in the past, the first supernatural fiction novel, and the first example of what we now call "Gothic" fiction (with a heroine in danger in the setting of a big, scary old dwelling and an atmosphere of spooky menace). It was the first salvo of the Romantic movement in literature, which would displace Neoclassicism by the end of the 18th century.

In the same Preface quoted above, Walpole commented, in a moment of modesty, "...if the new route he [the author] has struck out shall have paved a road for men of brighter talents, he shall own with pleasure and modesty, that he was sensible the plan was capable of receiving greater embellishments than his imagination or conduct of the passions could bestow on it." He proved prophetic there; most readers would say that a number of literary men (and women!) who followed him in developing the Romantic, supernatural, Gothic, and medieval-set strains of fiction he set in motion displayed brighter talents than he did. This novel has its undeniable flaws. The biggest one is that his characters are cardboard, more two-dimensional types than people we really feel like we know. Some aspects of his supernatural phenomena aren't explained well, or aren't followed up after being introduced. Some of the female characters' acceptance of oppressive patriarchy can be eye-rolling (though some display more independence and agency at times!), and there are places where the dialogue is excessively melodramatic. (It also takes getting used to that he doesn't use quotation marks, or separate speech by different characters into different paragraphs, but that's not his fault; in 1764, those conventions weren't yet fully developed in prose fiction.)

For all that, the book does have its pluses. The story-telling is brisk-paced. At only 110 pages of actual text, unlike some doorstop-sized 18th and 19th-century tomes, this is a quick read, and the diction is not intimidating (at least, not to me -- granted, I have an ease with old-style prose that comes from reading it as a kid and never developing a prejudice against it, but I think any modern reader with an adult reading level could enjoy this without difficulty). There are really no dull moments (we start with a violent death four paragraphs into the story!); it held my interest throughout, and even though Walpole's characterizations are not sharp, I did like and root for certain characters, and genuinely cared about what would happen to them. Concealed identity would become a common Romantic trope; but given medieval conditions, it's not unrealistic here. Although Manfred, prince of Otranto, is an arrogant, self-serving tyrant, Walpoles's own attitude and message here is solidly moral. In reading this, I noted the Shakespeare-like treatment of the servants in the book (Walpole's own preface notes Shakespeare's influence there, and defends the Bard against the Neoclassicist Voltaire who had disparaged him on that grounds). An added advantage of the 1964 Oxford Univ. Press printing that I read is the Introduction by Walpole scholar W. S. Lewis, who notes not only that, but a number of other Shakespeare parallels and influences here.

My overall rating of the book is positive. If my review piques your interest (rather than scaring you off! :-) ), I'd recommend giving the book a try; and if you're a serious student of literature, it's a must-read.

Quite frankly, one of the oddest things I've ever read is truly a mind-boggling experience.

It seems to defy all logic and convention, taking me on a journey through a world of the most unexpected and strange ideas.

The words on the page seem to dance and twist in ways that I never thought possible, making me question everything I thought I knew about language and communication.

As I read on, I find myself becoming more and more intrigued, unable to put the piece down until I've reached the very end.

It's as if the author has tapped into a hidden well of creativity and imagination, and is sharing it with the world in the most unique and fascinating way.

All in all, it's an experience that I won't soon forget, and one that has left me with a newfound appreciation for the power of the written word.

This short read was truly a curious blend of the bizarrely entertaining and the slightly boring.

It had been sitting patiently on my To-Be-Read (TBR) list for a solid decade.

Throughout those years, it seemed to taunt me, a constant reminder of an unfulfilled literary adventure.

However, now that I have finally conquered it, a sense of relief and accomplishment washes over me.

The journey through its pages was not without its moments of intrigue and odd charm.

There were certain passages that made me raise an eyebrow in surprise or chuckle at their unexpectedness.

Yet, at other times, I found myself slightly disengaged, longing for a bit more excitement or depth.

Nevertheless, having finally crossed it off my TBR list, I can look back on this experience with a sense of satisfaction and a newfound appreciation for the diverse range of literature that awaits me.

Gothic literature is a unique and captivating genre that has endured throughout the ages.

It is characterized by its dark and mysterious atmosphere, often set in阴森的 castles, ancient mansions, or desolate landscapes.

The stories typically involve elements such as horror, the supernatural, and psychological terror.

Gothic literature explores the darker side of human nature, delving into themes of madness, obsession, and the struggle between good and evil.

Authors of Gothic literature use vivid and descriptive language to create a sense of unease and suspense, drawing readers into a world of mystery and horror.

Some of the most famous works of Gothic literature include "Frankenstein" by Mary Shelley, "Dracula" by Bram Stoker, and "The Fall of the House of Usher" by Edgar Allan Poe.

These works have had a profound impact on popular culture and continue to inspire new generations of writers and filmmakers.

In conclusion, Gothic literature is a rich and diverse genre that offers readers a thrilling and unforgettable experience.

The Castle of Otranto is a captivating gothic story. It was inspired by a dream of Horace Walpole. One morning, he woke from a dream where he found himself in an ancient castle, a very natural dream for his mind filled with Gothic tales. On the uppermost banister of a great staircase, he saw a gigantic hand in armour. That evening, he sat down to write without any clear idea of what to say or relate.

This book, first published in 1765, is set in Italy during the Crusades. Manfred, the Prince of Otranto, is desperate to ensure his lineage continues. He arranges for his sickly son, Conrad, to marry the lovely Isabella, the daughter of the Marquis of Vicenza. However, on the wedding day, Conrad meets a horrible and mysterious death. Manfred then decides to divorce his wife and marry Isabella himself to have more sons. But Isabella is unwilling and flees to the church for sanctuary.

Meanwhile, the ancient castle is filled with creepy sights and sounds, which seem to fulfill an ancient prophecy. This old classic is great fun to read, with its gothic atmosphere, romance, comedy, murder, and mayhem. It reminds one a bit of a great Shakespeare play. It's a perfect choice for the 2016-aty-reading-challenge-week-43, a book about a thing that goes bump in the night, and for the book-vipers-book-hunter with the keyword CASTLE.

Otranto Castle can be remembered as the first book in the Gothic genre. A genre that, by focusing on darkness, fear, and psychological ambiguities, draws readers into a world of intense stress and profound fear.

Elements such as a haunted family, death, fasting, a ghoul, and more are prominent in this book and this genre. It is a tragic story, full of drama and supernatural events that begins with death and then relates a story of love, patricide, a haunted family, and so on.

It is a metaphysical Gothic that takes you along with it and offers you a quasi-Shakespearean story that sometimes reminds me of Macbeth.

Finally, it can be the best choice to start Gothic works.

I read it for Will Herondale the first time, and I was completely captivated.

Then, I read it for Will Herondale the second time too, and each word seemed to hold a new depth and meaning.

I have a strong feeling that I'll probably read it for him the third time as well.

If there's one thing Cassandra Clare did right, it is indeed mentioning this book inside her own book.

It's as if she knew that this particular book would have such a profound impact on her readers, especially those who are as enamored with Will Herondale as I am.

With each reading, I discover something new about the story and about Will himself.

It's like uncovering hidden treasures within the pages, and I can't get enough of it.

I'm sure that no matter how many times I read it, it will always hold a special place in my heart, just like Will Herondale does.

I really liked the story of Dark Space and the Secret. I really like this kind of stories, especially the gothic, creepy and fantasy ones.

And the fact that its flavor is such that it can be read continuously and without interruption!

Dark Space and the Secret seems to take me to a mysterious and thrilling world. The gothic elements add a sense of mystery and horror, making me constantly on the edge of my seat. The fantasy part allows my imagination to run wild, creating a world full of magic and wonder.

I can't wait to explore more of these types of stories and continue to be captivated by their unique charm.

This novel holds a significant place in literary history as it is the very first Gothic horror story, penned in 1764. On the humorous Guardian newspaper gothic rating scale, it scores a 3 swooner. Hippolita swoons twice and Matilda once, adding to the drama and excitement.

Moreover, it is set in a cursed or haunted castle in a foreign land, with the characters speaking in an outdated manner, which are other criteria of the Guardian newspaper for classic Gothic horror stories. In fact, it is remarkable to note that many of the stereotypes we now associate with Gothic horror actually had their beginnings in this very book.

It is a quick read that manages to be satisfactorily spooky. I truly wish I had saved it for Halloween to fully immerse myself in the eerie atmosphere it creates. It's a must-read for fans of the Gothic horror genre, offering a glimpse into the roots of many of the tropes and conventions that have endured over the years.

The castle is the main character of the novel, not Manfredo, Mathilda, Hipólita, Isabela, Teodoro or Jerónimo... The supernatural, the gothic and the terrifying began here, in 1764, when Horace Walpole published this novel, giving rise to Romanticism and to great authors such as Ann Radcliffe with “The Mysteries of Udolfo”, William Beckford and his novel “Vathek”, Charles Maturin with “Melmoth, the Wanderer” or the novel “The Monk” by Matthew Lewis.

Subsequently, Edgar Allan Poe would take up the gothic setting in his stories to bring them to a stylistic and narrative perfection.

The oppressive setting of the Castle of Otranto, with the appearance of that giant helmet that crushes Manfredo's son, will be the trigger for all the situations that occur there, including a series of intrigues that oscillate between Greek tragedy and Shakespearean drama, perfectly articulated by Walpole, a true master in this type of intrigues, where the ominousness of the castle accompanies everything that unfolds towards the end.

The castle, with its corridors, vaults, galleries, crypts, cellars and tunnels, dominates the psyche of the characters and in a certain way enchants them, adding to the general confusion that they live, the appearance of different supernatural events.

Before today's reader knew the black novel, the authors of the past, the romantics and the great exponents of the genre today, had to read Walpole before getting to work.