And here it is now:
You can see more pictures of it and donate to the ongoing restoration project here.
Here's the bloggy question for you to think about: thanks to Walpole, the literature we call Gothic and gloomy castles go together, to the point that we find it difficult to imagine one without the other. But just how crucial is the architectural structure to the pleasures of the Gothic? Is the Castle of Otranto just the setting and backdrop for a Gothic tale, or does it serve a more crucial thematic and structural role in this novel?
Deadline: Friday (4/27), 1pm.
12 comments:
Well, I’d like to start off by saying that I find this question fascinating, probably because it’s one I’ve never before considered, it’s always been one of those “that’s just how it is” deals. When we think Gothic we automatically assume dark, dreary, decaying castles because, well, that’s how authors, and painters, and directors have always portrayed it to us as consumers, and we’ve probably never thought to think otherwise. Now that I have actually taken the time to consider it, though, I think the castle as a main setting is pretty key to the Gothic genre; that is, more important than JUST serving as the ultra-creepy locale we find so frightening and yet oddly intriguing.
I think thematically in this novel, as well as other Gothic tales, the castle serves as a way to create tension and to heighten readers’ (or viewers’) emotions. In these types of stories, castles are typically pretty old, usually medieval, and come equipped with secret passageways, trapdoors, mysterious rooms, etc. (it is by those very means that Isabella manages to escape, as well as remain initially undiscoverable, in Otranto); all of those elements combined certainly play up the levels of eeriness, and overall makes for a better read. I think castles’ histories also (whether consciously or otherwise) alert readers to the fact that anything can be possible—we don’t know what’s happened in them in the past, we don’t know whether or not they’re haunted, whether people have been tortured or murdered there –and, again, that mystery, that unknown, makes it the perfect setting for Gothic fiction. Then again, I may just be arguing that because that’s already the mentality I have because of how many castles have appeared in Gothic stories; who knows how eighteenth century readers may have read them.
But even if we’re not thinking about their histories or whether they’re haunted, structurally castles allow for a number of possibilities as well. Again, going back to Isabella’s escape—that’s possible because of trapdoors and hidden tunnels built into the castle that another building (say a regular house, hospital, school, etc.) might not have. Castles also tend to be fairly large structures surrounded mostly by vast landscapes and not much else, and that could signal isolation and helplessness. The idea that there’s really no one to turn to in the event of something bad happening, other than those actually living in the castle, can be frightening. Simultaneously, a castle positioned amongst a vast expanse could maybe even feel trapping, claustrophobic (narrow secret passageways would have a similar effect); the idea that there’s so much surrounding you and you’re “stuck” inside a freaky castle can be nerve-wracking too.
Castles also serve as places that house ancient, strange, and possibly even mysterious artifacts (like the sighing portrait and the statue with the missing helmet in Otranto), and those objects (that wouldn’t be out of the ordinary in a castle, but maybe so elsewhere) can be used by the author/artist/director in ways that would terrify not only their characters/subjects but also the readers/viewers as well. I guess castle possibilities are endless—who knew?
Also, there is the history of the castle as a fortress, not just a safe place but more importantly an impregnable structure. Kings live in castles for a reason, to protect themselves and their retinue from harm. So, to read stories about ghosts and creatures and strange visions in the night within this castle setting says something about the limits of stones and moats, and ultimately defensive architecture, that they can only protect people from the more banal, temporal threats and leaves them fair game for the surreal and the supernatural.
Castles are beautiful, romantic, they are markers of wealth and affluence and as SMR says, " house ancient, strange, and possibly even mysterious artifacts," which is true and I agree that this must be part of the appeal to readers and writers of the gothic, but cathedrals fit that same description: big, beautiful and home to many old and odd items...but cathedrals don't have that same allure and in the case of Isabella, the church of St. Nicholas is the only place she can conceive of going to to protect herself from the dangers of the castle.
Just as we studied in the gothic stories we explored this semester and, based upon prior knowledge, the architectural structure is wholly important to the pleasures of the gothic. In the Castle of Otranto, as in any gothic novel, the physical and spiritual surroundings of the characters are essentially what communicates the gothic feel to the reader. An author can write about ghosts, medieval darkness, and strange spirituality, but without the physical elements to back it up, the effect is somewhat lost. A castle in itself is comprised of dark hallways and passageways, hundreds of rooms, and tall turrets in which to escape to. All of these facets of a castle, when reading a gothic novel, draw the reader in, allowing each individual to feel the chill of the stone floor or the shock of a light breeze rustling through a dark hallway. Gothic elements like the castle make reading a sensory experience, both physical and emotional.
I agree with both SMR and Sam M in their discussions of this theme. I think also, as Sam M noted on, the idea of a castle as a safety net is completely destructed in the gothic novel. The characters are in what seems to be the safest of safe places, yet are tormented by the supernatural and the uncontrollable. In the Castle of Otranto, the castle itself serves a crucial role in classifying the novel as gothic. It literally is the physical basis upon which the gothic elements spring from.
The castle in The Castle of Otranto definitely is more important than just the scenery or he setting for the plot. It sets up the gothic atmosphere and you are quite right that it seems absurd to not have a gothic story without a creepy, fog-emitting castle. The castle is the main setting for the story and where the paintings talk to Manifred, and of course where the helmet crushes Conrad. But, it is most intriguing when Isabella flees away from Manifred through the secret chambers. He narration says: “In this resolution, she seized a lamp that burned at the foot of the staircase, and hurried towards the secret passage. The lower part of the castle was hollowed into several intricate cloisters; and it was not easy for one under so much anxiety to find the door that opened into the cavern. An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors she had passed, and which, grating on the rusty hinges, were re-echoed through that long labyrinth of darkness. Every murmur struck her with new terror; yet more she dreaded to hear the wrathful voice of Manfred urging his domestics
to pursue her.” This is a great image that captures what a castle is supposed to represent in a gothic story. It is supposed to evoke chilling, anxious emotions in the guests and in this scene Isabella is fearing and frantic about her escape. In this regard, the structure of the castle is just as important and the atmosphere it represents. If it was just a simple old house with a gothic atmosphere, it would not nearly be as exciting or enchanting. But, because it has these gothic and cryptic structural components, such as secret passage ways, big picture windows, long hallways and large cellars, it creates an image of scattered commotion that is important for a story like this. I also like that the church is described as sacred and ceremonial and that she knows Manifred would never show his anger there, but the castle is ok for any of those barbaric emotions.
As PMV stated above, castles play up the bone chilling and anxious emotions of people due to their immense size, dark hallways, and grand rooms. In this narrative I think the castle plays a particularly significant role. The structure is quite large with multiple passages and hallways, but even with this in mind Isabella is terrified for her life. While the size of the castle should assist her in keeping a steady distance from the pursuit of Manfred, it actually makes it harder for her to get away. With each dark passage and room she in unable to gauge whether Manfred or one his lackeys will be standing around the corner. The size of castle also creates unknown sounds. Frequently, Isabella is unable to pinpoint the noises she hears from far off places and thus is unable to determine the location of Manfred. For her at least, it is terrifying. The castles serves as a house for the unknown which many fears hinge upon. I feel that this narrative perhaps heightens the fear with the death of Conrad. Not only does Isabella have to run around a large dark castle, but she has to do so with the chance that she’ll either run into Manfred, real, or Conrad, dead. It’s interesting that Isabella is essentially trapped in a place that boasts the grand (i.e. rooms, hallways, the general architecture). Her options are limited which I think is a good way of creating fear and making this narrative gothic somewhat beyond the supernatural.
Well, I like the idea of the Gothic. I find it interesting the way authors can create a storyline and scene based on things such as a castle or the background. I agree with Molly Sheehan because physical and spiritual elements are keys parts to making something feel and look as if it is Gothic. I also plays a major role in how people perceive whether something is Gothic or not. As for the novel itself I think the Castle of Otranto is intentionally set to come off as Gothic story. Im looking forward to what more the novel brings.
I believe that the role of a Gothic tale is to portray the history that is not noble. It is a vice to present what is in opposition to Godliness and the "good", to then allow one to respect ones situation because it most undoubtedly not congruent with one's real life. That there may be virtue in reading tales of opposite motives (to scare or to become passionate), the castles play an important role because the history of a castle is most commonly noted as a noble achievement, but can also be a symbol of failure and death.
I think that architecture is essential to the Gothic. The structure and design of castles seems to be intrinsically tied to this genre, which in a way helps readers visualize the Gothic. Castles fulfill the dark, gloomy imagery we associate with Gothic texts and these constructs help illuminate or even magnify certain elements of the story. In "The Castle of Otranto" I think castles are significant for a variety of reasons. First, I don't think Walpole would've titled his text the way he did without believing the castle was central to the story. Also, the castle seems to provoke these supernatural acts that happen like the helmet crushing Conrad, the stories of ghosts, or even the moving paintings. I think these abnormal events have a heightened emotional impact given the backdrop of the castle, but also that the castle is an environment these strange happenings can occur.
I think, relative to a discussion of castles and their relevance to the pleasures of the Gothic, architectural structure can contribute significantly to the overall effect. Many people are unaware, or at the very least, cannot relate completely to every element a castle represents. Most individuals have not been fortunate enough to be able to live in that environment or to experience that type of lifestyle. Additionally, in the past (and for today to some extent still) the castle as a residence is restricted to individuals of either nobility or the very wealthy. As a result, the drama of what exactly a castle represents and functions as still is a concept foreign to most individuals and as such, can project itself to be mysterious, fantastic, and even dark (as a connection to popular interpretations of castles from the Middle Ages). From this perspective, I would say although not essential absolutely to the Gothic genre, architectural structure does offer another element that can enhance greatly the effect intended by the author.
I think the Castle of Otranto represents a more integral role structurally to the novel in the context of the plot. Much of the action described in this plot sequence occurs without relation to the castle as a whole and therefore can appear not to involve that dynamic throughout the tale. However, the castle as structure itself is a symbol for the monarchy and the line Manfred seeks to preserve through his quest to wed Isabella. It is a physical image of the system Manfred vainly hopes will sustain itself through his little meddling process. I feel the establishment of a castle has become synonymous with the monarchy as an institution, and a monarch without a castle almost becomes laughable or somewhat of a mockery. (One example of the tradition of this system is the necessity of the newly christened Duke and Duchess of Cambridge to select a residence or "castle" for their purposes now that they have joined together). So essentially, I think the castle may function to anchor the basis for the efforts undergone by Manfred throughout the novel.
I do agree that the Castle in the Castle of Otranto is more than just the settign for the story. In places it becomes almost a character, as it it is willing for the changing of the guard so to speak. There are many place throughout the novel that this can be agrued. However, when discussing gothic litererature in general I have to wonder if the gothic archetecture is all that important. Sure it is one of the laundry list of elements that were given to me in 210, but it is just one of them. I think it is totally possible to have gothic literature without having a gothic building in it, as long as there are other elements there. I guess I am wondering what about modern gothic? I guess i am not even sure that is a genre but it should be. I remember a movie I once saw when I was 12 or so. It was called the haunting, but not the same story as the more recent one. It took place in an English tudor but the movie was very gothic in nature.
I feel that while castles usually are portrayed within Gothics, they are not required. Other settings can be spooky. Castles are just so perfect for the job. Hidden passages, walls of stone, poorly lit. What more could a writer want to work with? For this story though, the Castle is key. So many elements of the story revolve around the castle. Isabella escapes through the trap door, the paintings on the wall move. It is more important than most of the characters in the story, and more interesting as well.
Blackbear brought up the interesting topic of architectural significance. When we imagine a Gothic tale within a castle, we never fail to conceive a castle that is architecturally of the Gothic style. Gothic architecture is meant to appeal to the emotions. When you see a grand cathedral built in the Gothic style, you are drawn by its magnificent and mesmerized by its complexity, as if to signify that the religion contained within it is both magnificent and perplexing. Likewise, Gothic castles were built to be intimidating to persons that approach them unwelcome. The spire that reach into the sky, the grim statuettes, and the looming arches give Gothic castles a ghastly presence as if you were entering into the mouth of a beast through its doors.
With that in mind, I would say that the castle is not integral to the Gothic genre. Rather, the literary Gothic and the architectural Gothic have a sort of symbiosis that magnifies each's aspects. When the castle is present in a story such as The Castle of Otranto, it does have a significance other than just imagery in a setting. It is a character and a creature both of a higher nature than the characters and yet still possessing human-like qualities.
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