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In 'The Darkness of Castle Otranto', readers are invited into a realm where the gothic splendor and terror intermingle, through a collection that showcases the darkly imaginative roots of Gothic literature. This anthology harmonizes the stylistic nuances and thematic depths of Horace Walpole and Clara Reeve, presenting a range of narratives that explore the eerie corridors of haunted castles, the psychology of its inhabitants, and the societal undercurrents of their time. The compilation stands out not only for its pioneering contributions to the Gothic genre but also for the editorial vision in pairing these specific works, highlighting the evolution of Gothic literary forms and themes. The inclusion of seminal pieces from Walpole and Reeve provides a comprehensive look into the genesis and development of Gothic fiction, showcasing their lasting influence on subsequent literature and culture. The anthology delves into the cultural and historical contexts that shaped both authors, whose works collectively embody the anxieties and innovations of the 18th century. These authors, each significant in their contributions to literature and thought, bring together a rich tapestry of narratives that reflect the evolving tastes, societal concerns, and literary explorations of their time. This junction of historical significance and creative brilliance renders the collection a critical point of reference for understanding the origins and sustenance of the Gothic tradition. 'The Darkness of Castle Otranto' is recommended for readers who seek to immerse themselves in the depths of Gothic literature, tracing its roots through the masterful works of Walpole and Reeve. This anthology offers not just an exploration into the dark and sublime but an educational journey through the literary movements that shaped the genre. For scholars, students, and enthusiasts of Gothic fiction, this collection serves as a vital bridge between past and present dialogues within the genre, encouraging a deeper appreciation for the complexities and nuances that define Gothic literature.
The Castle of Otranto is a book by Horace Walpole first published in 1764 and 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". The novel merged medievalism and terror in a style that has endured ever since. The aesthetics of the book shaped modern-day gothic books, films, art, music and the goth subculture
After the death of his only son on his wedding day, Manfred, the Prince of Otranto, determines to marry the bride-to-be, setting himself on a course of destruction.
Macabre and melodramatic, set in haunted castles or fantastic landscapes, Gothic tales became fashionable in the late eighteenth century with the publication of Horace Walpole's The Castle of Otranto (1764). Crammed with catastrophe, terror, and ghostly interventions, the novel was an immediate success, and influenced numerous followers. These include William Beckford's Vathek (1786), which alternates grotesque comedy with scenes of exotic magnificence in the story of the ruthless Caliph Vathek's journey to damnation. The Monk (1796), by Matthew Lewis, is a violent tale of ambition, murder, and incest, set in the sinister monastery of the Capuchins in Madrid. Frankenstein (1818, 1831) is Mary Shelley's disturbing and perennially popular tale of young student who learns the secret of giving life to a creature made from human relics, with horrific consequences. This collection illustrates the range and the attraction of the Gothic novel. Extreme and sensational, each of the four printed here is also a powerful psychological story of isolation and monomania.
The pleasant little American city of Middletown is the first target in an atomic war - but instead of blowing Middletown to smithereens, the super-hydrogen bomb blows it right off the map - to somewhere else! First there is the new thin coldness of the air, the blazing corona and dullness of the sun, the visibility of the stars in high daylight. Then comes the inhabitant's terrifying discovery that Middletown is a twentieth-century oasis of paved streets and houses in a desolate brown world without trees, without water, apparently without life, in the unimaginably far-distant future.
Essay from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Wuppertal (Anglistik/Amerikanistik), course: The British Novel in the Late 18th and Early 19th Century, language: English, abstract: [...] An awful silence reigned throughout those subterraneous regions, except now and then some blasts of wind that shook the doors [Isabella] 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 [...] (Walpole 61). This passage of Walpole’s The Castle of Otranto is only one example that shows how the construction of the setting in this novel strongly contributes to the atmosphere of the tale. Also in other passages it becomes obvious that the description of space and landscape conveys a specific meaning within the story, and even prefigures the development throughout the plot. Nünning and Nünning mention: „Räume [fungieren] nicht nur als Schauplätze [...], sondern [erfüllen] eine ‚Erzählfunktion’ [...], ‚räumliche Oppositionen [werden] zum Modell für semantische Oppositionen’“ (cf. 132). Thus, several places and the landscape depicted in the setting may function as semantic carriers (cf. ibid. 133). In this essay it will be examined in how far space is semantically charged in Walpole’s work, and how this influences the plot, the atmosphere within the story, and the reader’s perception of it. In addition, it will be shown that the semantic charging of the settings in The Castle of Otranto is also influenced by its being a Gothic novel. Therefore, a definition of the latter term will be given as well...