Walpole's The Castle of Otranto might be one of the first genre based novels written. I don't mean to suggest that there weren't others before, but as Clery's article indicates, it certainly has all of the elements to be consider the first "gothic novel". The fact that novel itself developed the roles and conventions of an entire genre is fascinating; though I have read several "Gothic" texts, I was unprepared for the adventure that awaited me in my attempt at reading The Castle of Otranto. The plot of the novel is incredible simple and formulaic: we are introduced to a prince, an old legend, a tragedy, and then a rape like desire to subvert the ancient legend and continue to maintain social status and relevance. Everything that happens throughout the course of the novel is particularly prepared and for someone who has familiarity with the genre, it can at times read as cliché. But thing to remember is that this came before all those other gothic tales, and for that reason it's worth reading and devouring and appreciating.
Walpole's novel is reminiscent of medieval stories that has come before it. At times, it read like some of the spiritual biographies of the Saints (most notably the Autobiography of St. Ignatius) and at other times, it felt similar to the grand stories of knights and kings and their adventures. Isabella functions as a damsel in distress, whereas Theodor functions as the knight in white armor. The castle itself occupies more than just setting; it is quite literally a character that evolves, twists, and turns throughout the story. Matilda's death functions as the catalyst for Manfred's downfall, and the shocking revelation at the end regarding Theodor is incredibly satisfying. And yet, the novel itself marries the ideals of romanticism with characterization of 18th century novels (Clery 24). This combination, I'll admit, I wasn't exactly clear about when reading the text alone. Clery's article cleared up much of the confusion that I at times felt when reading the novel (most of that confusion brought on by a lack of familiarity with use of language in this period. It's very hard, I find, to read 18th century novels and fully comprehend the intentions of the author. Most of this is, I think, frankly because of the advent of modernist literary techniques and a change in the way language has been used over time).
Perhaps the most interesting thing of note in the novel isn't the characters, or the ever engaging plot, or even the satisfying ending; perhaps it's the use of the supernatural. The supernatural would later become a steady element of the genre, but Walpole's use is ingenious. The "ghost" appears almost like a Deus Ex Machina devise, and yet it isn't offensive. It is used appropriately. It creates a healthy "terror" to the story and progresses the plot forward. Even with the introduction of Isabella's father as knight and the battle that unfolds, all of the supernatural elements seem most to strive away from the fictional norm of its day, and creates something interesting.
There is an element to fiction that I think is often ignored, but that Horace Walpole understood quite clearly: fiction should entertain! In that sense, The Castel of Otranto is by far the most entertaining piece we've read thus far, and in many ways it feels the precursor to the rise of genre novels we see in the 19th century. I by no means am trying to say that Walpole's work isn't as literary as the work of Richardson, but it certainly feels like one can draw a connection from his novel to the later novels of adventure, horror, and science fiction that emerge some hundred so years later. Certainly I think someone like H. Rider Haggard was influenced by Walpole's work, even if there isn't any evidence to suggest it. She very much is inspired by the gothic genre, and I think it's worth noting that his work (alongside many other genre riders of the 19th and 20th century) certainly transforms the reading experience.
Walpole's novel is reminiscent of medieval stories that has come before it. At times, it read like some of the spiritual biographies of the Saints (most notably the Autobiography of St. Ignatius) and at other times, it felt similar to the grand stories of knights and kings and their adventures. Isabella functions as a damsel in distress, whereas Theodor functions as the knight in white armor. The castle itself occupies more than just setting; it is quite literally a character that evolves, twists, and turns throughout the story. Matilda's death functions as the catalyst for Manfred's downfall, and the shocking revelation at the end regarding Theodor is incredibly satisfying. And yet, the novel itself marries the ideals of romanticism with characterization of 18th century novels (Clery 24). This combination, I'll admit, I wasn't exactly clear about when reading the text alone. Clery's article cleared up much of the confusion that I at times felt when reading the novel (most of that confusion brought on by a lack of familiarity with use of language in this period. It's very hard, I find, to read 18th century novels and fully comprehend the intentions of the author. Most of this is, I think, frankly because of the advent of modernist literary techniques and a change in the way language has been used over time).
Perhaps the most interesting thing of note in the novel isn't the characters, or the ever engaging plot, or even the satisfying ending; perhaps it's the use of the supernatural. The supernatural would later become a steady element of the genre, but Walpole's use is ingenious. The "ghost" appears almost like a Deus Ex Machina devise, and yet it isn't offensive. It is used appropriately. It creates a healthy "terror" to the story and progresses the plot forward. Even with the introduction of Isabella's father as knight and the battle that unfolds, all of the supernatural elements seem most to strive away from the fictional norm of its day, and creates something interesting.
There is an element to fiction that I think is often ignored, but that Horace Walpole understood quite clearly: fiction should entertain! In that sense, The Castel of Otranto is by far the most entertaining piece we've read thus far, and in many ways it feels the precursor to the rise of genre novels we see in the 19th century. I by no means am trying to say that Walpole's work isn't as literary as the work of Richardson, but it certainly feels like one can draw a connection from his novel to the later novels of adventure, horror, and science fiction that emerge some hundred so years later. Certainly I think someone like H. Rider Haggard was influenced by Walpole's work, even if there isn't any evidence to suggest it. She very much is inspired by the gothic genre, and I think it's worth noting that his work (alongside many other genre riders of the 19th and 20th century) certainly transforms the reading experience.
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