The Castle of Otranto: The Birth of Gothic Fiction

The Castle of Otranto, written by Horace Walpole in 1764, was the first “Gothic Novel”, combining romance with horror to explore fear and mystery, writes WILLIAM BOVE

The Castle of Otranto: Horace Walpole’s Lasting Legacy

The Castle of Otranto by Horace Walpole, published in 1764, is regarded as the first “Gothic Novel”.

Walpole is believed to have originated the term “Gothic” as it pertains to stories and novels. Before this, the term was mainly associated with architecture, barbarian tribes, and warfare. Walpole reclaimed and reapplied the term, blending medieval romantic elements with literary horror and terror.

Examples of these elements might include a crumbling castle or keep, sitting in a lonely landscape, half barren of life, perhaps a bog, a swamp, or a field half covered in mist. The scene would be painted in earth-tone colours, browns and faded greens, which choke off the vibrancy of life.

The Gothic genre also explores the fractures of human behaviour and the poison that can invade the human spirit, driving one to madness and craven deeds — acts both unsavoury and impure, such as murder and licentious behaviour, often marred with gruesome details.

Supernatural influences pervade these stories, coating everything in a creepy, spooky atmosphere that is the very soul of horror. These are the foundational elements of the Gothic horror story, mixed with vivid and rich romanticism.

Romanticism, in this context, is not about candlelit dinners or leisurely walks, but about what inspires your imagination, nourishes your spirit, and feeds your soul. It is about laying bare the heart and soul in black and white, with all the terrifying things that taunt, tempt, and consume the human imagination.

Horace Walpole mixed medieval themes of romanticism with elements of horror and terror. Some consider medieval themes antiquated, but I believe they are not. These themes illustrate what is most important in life: love, passion, honour, integrity, and courage. Such virtues are uplifting and inspiring to any reader, regardless of who they are.

Walpole’s ideas were reportedly inspired by a nightmare, much like Mary Shelley’s Frankenstein. This nightmare had a deeply profound effect on him, and the shape that haunted him was a large armoured hand, like that of a suit of armour. With his knowledge of medieval history, it took no effort for Walpole to draw this phantom image into his classic work.

Ironically, this image features as the first portent of doom for Manfred’s family and for Manfred himself. A large helmet falls upon his son Conrad, who is in poor health and a disappointment to his father.

The uses of symbolism, allegory, and illustration are timeless and invaluable tools in many Gothic tales. These tools are also expertly employed by Edgar Allan Poe, a giant of Gothic Romantic Literature. Before Conrad’s untimely demise, he was to marry Isabella, who is much more lively and vital than his wife, Hippolita.

Manfred, not terribly shaken by his son’s death, is more terrified by a prophecy: “The castle and lordship of Otranto shall pass from the current owners and family to the rightful ones when the real owner has grown too large to inhabit it.” Driven by material wealth and possession, including the possession of people, Manfred decides to act fast. He attempts to marry his son’s betrothed, Isabella, as his new wife because Hippolita, his current wife, seems incapable of producing healthy offspring.

Isabella flees from her corrupt intended, seeking shelter in a church with the help of a commoner named Theodore and the friar Jerome, who attempt to protect her from Manfred. Theodore discovers that the helmet came from the giant statue standing before the church — the very helmet that killed Conrad. Outraged by the commoner’s insight, and perhaps angry that he didn’t figure it out himself, Manfred accuses Theodore of sorcery and orders his death.

As Theodore prepares to die, Jerome notices a mark on his chest, recognising him as his son and a noble. The friar begs Manfred for his son’s life, but Manfred presents a terrible choice: his son or Isabella. Before a decision can be made, knights arrive, trumpets blare, and the noble Lord Frederic, Isabella’s father, appears, thickening the plot.

Manfred, ever the schemer, seeks to strike a deal with Frederic. The nobleman is initially interested, but then a skeleton appears to Frederic, warning him against uniting with Manfred. He heeds the warning and withdraws from the deal.

Manfred, in a fit of rage, tries to kill Isabella, whom he believes is meeting Theodore in the church. However, he accidentally kills Matilda, the daughter of his wife, Hippolita, whom he spurned at the beginning. With Matilda’s death, the true heir to the Castle of Otranto is revealed to be Theodore.

Finally, a ghostly figure appears, announcing the prophecy’s fulfilment. The castle walls explode in a mighty destruction. Manfred retires with Hippolita, and although true love eluded Theodore, he survives the castle’s ordeals and finds love again with Isabella, who is the only one capable of understanding his melancholy heart.

Initially, I did not like the idea of this story. From the start, I was sceptical. However, I’m glad I was wrong. The Castle of Otranto is a very entertaining book, with dark moments that are unexpectedly hilarious. For example, the death of poor Conrad, crushed by the giant helmet, was darkly humorous to me, likely due to my love for the slapstick humour of Bugs Bunny.

It is a great story with wonderful themes. Although written and published before Edgar Allan Poe, for me, Poe remains the father of modern Gothic horror and romance. His work continues to inspire my soul.

The haunting and morbid tale of the supernatural, deceit, murder, lost love, and returned love, with its happy ending tinged with darkness, makes The Castle of Otranto a timeless classic. While I enjoyed the story and agree it should be read at least once, I would still choose Edgar Allan Poe, Mary Shelley and Bram Stoker among others.

A fun literary fact: The Castle of Otranto was not given the title of a Gothic story until its second printing in 1765, when Walpole added the subheading “A Gothic Story”.

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