The Castle of Otranto

The Castle of Otranto

by Horace Walpole, Michael Gamer


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Product Details

ISBN-13: 9780140437676
Publisher: Penguin Publishing Group
Publication date: 01/28/2002
Pages: 208
Sales rank: 165,434
Product dimensions: 5.10(w) x 7.80(h) x 0.47(d)
Age Range: 18 Years

About the Author

Horatio Walpole (1717 - 1797) - also known as Horace Walpole - was an English art historian, man of letters, antiquarian and Whig politician. He had Strawberry Hill House built in Twickenham, south-west London, reviving the Gothic style some decades before his Victorian successors. His literary reputation rests on his Gothic novel, The Castle of Otranto (1764) and his Letters, which are of significant social and political interest.

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The Castle of Otranto

By Horace Walpole

Hesperus Press Limited

Copyright © 2014 Horace Walpole
All rights reserved.
ISBN: 978-1-78094-344-2


Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza's daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad's infirm state of health would permit.

Manfred's impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince's disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince's dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto 'should pass from the present family, whenever the real owner should be grown too large to inhabit it'. It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question. Yet these mysteries, or contradictions, did not make the populace adhere the less to their opinion.

Young Conrad's birthday was fixed for his espousals. The company was assembled in the chapel of the castle, and everything ready for beginning the divine office, when Conrad himself was missing. Manfred, impatient of the least delay, and who had not observed his son retire, despatched one of his attendants to summon the young Prince. The servant, who had not stayed long enough to have crossed the court to Conrad's apartment, came running back breathless, in a frantic manner, his eyes staring, and foaming at the mouth. He said nothing, but pointed to the court.

The company were struck with terror and amazement. The Princess Hippolita, without knowing what was the matter, but anxious for her son, swooned away. Manfred, less apprehensive than enraged at the procrastination of the nuptials, and at the folly of his domestic, asked imperiously what was the matter? The fellow made no answer, but continued pointing towards the courtyard; and at last, after repeated questions put to him, cried out, 'Oh! the helmet! the helmet!'

In the meantime, some of the company had run into the court, from whence was heard a confused noise of shrieks, horror, and surprise. Manfred, who began to be alarmed at not seeing his son, went himself to get information of what occasioned this strange confusion. Matilda remained endeavouring to assist her mother, and Isabella stayed for the same purpose, and to avoid showing any impatience for the bridegroom, for whom, in truth, she had conceived little affection.

The first thing that struck Manfred's eyes was a group of his servants endeavouring to raise something that appeared to him a mountain of sable plumes. He gazed without believing his sight.

'What are ye doing?' cried Manfred, wrathfully; 'where is my son?'

A volley of voices replied, 'Oh! my Lord! the Prince! the Prince! the helmet! the helmet!'

Shocked with these lamentable sounds, and dreading he knew not what, he advanced hastily, but what a sight for a father's eyes! – he beheld his child dashed to pieces, and almost buried under an enormous helmet, an hundred times more large than any casque ever made for human being, and shaded with a proportionable quantity of black feathers.

The horror of the spectacle, the ignorance of all around how this misfortune had happened, and above all, the tremendous phenomenon before him, took away the Prince's speech. Yet his silence lasted longer than even grief could occasion. He fixed his eyes on what he wished in vain to believe a vision; and seemed less attentive to his loss, than buried in meditation on the stupendous object that had occasioned it. He touched, he examined the fatal casque; nor could even the bleeding mangled remains of the young Prince divert the eyes of Manfred from the portent before him.

All who had known his partial fondness for young Conrad, were as much surprised at their Prince's insensibility, as thunderstruck themselves at the miracle of the helmet. They conveyed the disfigured corpse into the hall, without receiving the least direction from Manfred. As little was he attentive to the ladies who remained in the chapel. On the contrary, without mentioning the unhappy princesses, his wife and daughter, the first sounds that dropped from Manfred's lips were, 'Take care of the Lady Isabella.'

The domestics, without observing the singularity of this direction, were guided by their affection to their mistress, to consider it as peculiarly addressed to her situation, and flew to her assistance. They conveyed her to her chamber more dead than alive, and indifferent to all the strange circumstances she heard, except the death of her son.

Matilda, who doted on her mother, smothered her own grief and amazement, and thought of nothing but assisting and comforting her afflicted parent. Isabella, who had been treated by Hippolita like a daughter, and who returned that tenderness with equal duty and affection, was scarce less assiduous about the Princess; at the same time endeavouring to partake and lessen the weight of sorrow which she saw Matilda strove to suppress, for whom she had conceived the warmest sympathy of friendship. Yet her own situation could not help finding its place in her thoughts. She felt no concern for the death of young Conrad, except commiseration; and she was not sorry to be delivered from a marriage which had promised her little felicity, either from her destined bridegroom, or from the severe temper of Manfred, who, though he had distinguished her by great indulgence, had imprinted her mind with terror, from his causeless rigour to such amiable princesses as Hippolita and Matilda.

While the ladies were conveying the wretched mother to her bed, Manfred remained in the court, gazing on the ominous casque, and regardless of the crowd which the strangeness of the event had now assembled around him. The few words he articulated, tended solely to enquiries, whether any man knew from whence it could have come? Nobody could give him the least information. However, as it seemed to be the sole object of his curiosity, it soon became so to the rest of the spectators, whose conjectures were as absurd and improbable, as the catastrophe itself was unprecedented. In the midst of their senseless guesses, a young peasant, whom rumour had drawn thither from a neighbouring village, observed that the miraculous helmet was exactly like that on the figure in black marble of Alfonso the Good, one of their former princes, in the church of St Nicholas.

'Villain! What sayest thou?' cried Manfred, starting from his trance in a tempest of rage, and seizing the young man by the collar; 'how darest thou utter such treason? Thy life shall pay for it.'

The spectators, who as little comprehended the cause of the Prince's fury as all the rest they had seen, were at a loss to unravel this new circumstance. The young peasant himself was still more astonished, not conceiving how he had offended the Prince. Yet recollecting himself, with a mixture of grace and humility, he disengaged himself from Manfred's grip, and then with an obeisance, which discovered more jealousy of innocence than dismay, he asked, with respect, of what he was guilty? Manfred, more enraged at the vigour, however decently exerted, with which the young man had shaken off his hold, than appeased by his submission, ordered his attendants to seize him, and, if he had not been withheld by his friends whom he had invited to the nuptials, would have poignarded the peasant in their arms.

During this altercation, some of the vulgar spectators had run to the great church, which stood near the castle, and came back open-mouthed, declaring that the helmet was missing from Alfonso's statue. Manfred, at this news, grew perfectly frantic; and, as if he sought a subject on which to vent the tempest within him, he rushed again on the young peasant, crying –

'Villain! Monster! Sorcerer! 'tis thou hast done this! 'tis thou hast slain my son!'

The mob, who wanted some object within the scope of their capacities, on whom they might discharge their bewildered reasoning, caught the words from the mouth of their lord, and re-echoed –

'Ay, ay; 'tis he, 'tis he: he has stolen the helmet from good Alfonso's tomb, and dashed out the brains of our young Prince with it,' never reflecting how enormous the disproportion was between the marble helmet that had been in the church, and that of steel before their eyes; nor how impossible it was for a youth seemingly not twenty, to wield a piece of armour of so prodigious a weight.

The folly of these ejaculations brought Manfred to himself: yet whether provoked at the peasant having observed the resemblance between the two helmets, and thereby led to the farther discovery of the absence of that in the church, or wishing to bury any such rumour under so impertinent a supposition, he gravely pronounced that the young man was certainly a necromancer, and that till the Church could take cognisance of the affair, he would have the magician, whom they had thus detected, kept prisoner under the helmet itself, which he ordered his attendants to raise, and place the young man under it; declaring he should be kept there without food, with which his own infernal art might furnish him.

It was in vain for the youth to represent against this preposterous sentence: in vain did Manfred's friends endeavour to divert him from this savage and ill-grounded resolution. The generality were charmed with their lord's decision, which, to their apprehensions, carried great appearance of justice, as the magician was to be punished by the very instrument with which he had offended: nor were they struck with the least compunction at the probability of the youth being starved, for they firmly believed that, by his diabolic skill, he could easily supply himself with nutriment.

Manfred thus saw his commands even cheerfully obeyed; and appointing a guard with strict orders to prevent any food being conveyed to the prisoner, he dismissed his friends and attendants, and retired to his own chamber, after locking the gates of the castle, in which he suffered none but his domestics to remain.

In the meantime, the care and zeal of the young Ladies had brought the Princess Hippolita to herself, who amidst the transports of her own sorrow frequently demanded news of her lord, would have dismissed her attendants to watch over him, and at last enjoined Matilda to leave her, and visit and comfort her father. Matilda, who wanted no affectionate duty to Manfred, though she trembled at his austerity, obeyed the orders of Hippolita, whom she tenderly recommended to Isabella; and enquiring of the domestics for her father, was informed that he was retired to his chamber, and had commanded that nobody should have admittance to him. Concluding that he was immersed in sorrow for the death of her brother, and fearing to renew his tears by the sight of his sole remaining child, she hesitated whether she should break in upon his affliction; yet solicitude for him, backed by the commands of her mother, encouraged her to venture disobeying the orders he had given; a fault she had never been guilty of before.

The gentle timidity of her nature made her pause for some minutes at his door. She heard him traverse his chamber backwards and forwards with disordered steps; a mood which increased her apprehensions. She was, however, just going to beg admittance, when Manfred suddenly opened the door; and as it was now twilight, concurring with the disorder of his mind, he did not distinguish the person, but asked angrily, who it was? Matilda replied, trembling –

'My dearest father, it is I, your daughter.'

Manfred, stepping back hastily, cried, 'Begone! I do not want a daughter;' and flinging back abruptly, clapped the door against the terrified Matilda.

She was too well acquainted with her father's impetuosity to venture a second intrusion. When she had a little recovered the shock of so bitter a reception, she wiped away her tears to prevent the additional stab that the knowledge of it would give to Hippolita, who questioned her in the most anxious terms on the health of Manfred, and how he bore his loss. Matilda assured her he was well, and supported his misfortune with manly fortitude.

'But will he not let me see him?' said Hippolita mournfully; 'will he not permit me to blend my tears with his, and shed a mother's sorrows in the bosom of her Lord? Or do you deceive me, Matilda? I know how Manfred doted on his son: is not the stroke too heavy for him? has he not sunk under it? You do not answer me – alas! I dread the worst! – Raise me, my maidens; I will, I will see my Lord. Bear me to him instantly: he is dearer to me even than my children.'

Matilda made signs to Isabella to prevent Hippolita's rising; and both those lovely young women were using their gentle violence to stop and calm the Princess, when a servant, on the part of Manfred, arrived and told Isabella that his Lord demanded to speak with her.

'With me!' cried Isabella.

'Go,' said Hippolita, relieved by a message from her Lord: 'Manfred cannot support the sight of his own family. He thinks you less disordered than we are, and dreads the shock of my grief. Console him, dear Isabella, and tell him I will smother my own anguish rather than add to his.'

As it was now evening the servant who conducted Isabella bore a torch before her. When they came to Manfred, who was walking impatiently about the gallery, he started, and said hastily –

'Take away that light, and begone.'

Then shutting the door impetuously, he flung himself upon a bench against the wall, and bade Isabella sit by him. She obeyed, trembling.

'I sent for you, Lady,' said he – and then stopped under great appearance of confusion.

'My Lord!'

'Yes, I sent for you on a matter of great moment,' resumed he. 'Dry your tears, young Lady – you have lost your bridegroom. Yes, cruel fate! and I have lost the hopes of my race! But Conrad was not worthy of your beauty.'

'How, my Lord!' said Isabella; 'sure you do not suspect me of not feeling the concern I ought: my duty and affection would have always –'

'Think no more of him,' interrupted Manfred; 'he was a sickly, puny child, and Heaven has perhaps taken him away, that I might not trust the honours of my house on so frail a foundation. The line of Manfred calls for numerous supports. My foolish fondness for that boy blinded the eyes of my prudence – but it is better as it is. I hope, in a few years, to have reason to rejoice at the death of Conrad.'

Words cannot paint the astonishment of Isabella. At first she apprehended that grief had disordered Manfred's understanding. Her next thought suggested that this strange discourse was designed to ensnare her: she feared that Manfred had perceived her indifference for his son: and in consequence of that idea she replied –

'Good my Lord, do not doubt my tenderness: my heart would have accompanied my hand. Conrad would have engrossed all my care; and wherever fate shall dispose of me, I shall always cherish his memory, and regard your Highness and the virtuous Hippolita as my parents.'

'Curse on Hippolita!' cried Manfred. 'Forget her from this moment, as I do. In short, Lady, you have missed a husband undeserving of your charms: they shall now be better disposed of. Instead of a sickly boy, you shall have a husband in the prime of his age, who will know how to value your beauties, and who may expect a numerous offspring.'

'Alas, my Lord!' said Isabella, 'my mind is too sadly engrossed by the recent catastrophe in your family to think of another marriage. If ever my father returns, and it shall be his pleasure, I shall obey, as I did when I consented to give my hand to your son: but until his return, permit me to remain under your hospitable roof, and employ the melancholy hours in assuaging yours, Hippolita's, and the fair Matilda's affliction.'

'I desired you once before,' said Manfred angrily, 'not to name that woman: from this hour she must be a stranger to you, as she must be to me. In short, Isabella, since I cannot give you my son, I offer you myself.'

'Heavens!' cried Isabella, waking from her delusion, 'what do I hear? You! my Lord! You! My father-in-law! the father of Conrad! the husband of the virtuous and tender Hippolita!'

'I tell you,' said Manfred imperiously, 'Hippolita is no longer my wife; I divorce her from this hour. Too long has she cursed me by her unfruitfulness. My fate depends on having sons, and this night I trust will give a new date to my hopes.'


Excerpted from The Castle of Otranto by Horace Walpole. Copyright © 2014 Horace Walpole. Excerpted by permission of Hesperus Press Limited.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

Introduction: Horace Walpole and The Castle of Otrantovii
The Castle of Otranto
Sir Walter Scott's Introduction3
Preface to the First Edition17
Preface to the Second Edition21
The Castle of Otranto27

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The Castle of Otranto 3.3 out of 5 based on 0 ratings. 26 reviews.
Catherine-E-Chapman More than 1 year ago
'Entertainingly warped morality'... I began reading this book as research for a Regency romance I was writing that contained references to Gothic novels. I realised although I thought I had the concept of a Gothic novel, the ones I've read previously ('Frankenstein' and 'Wuthering Heights') are deemed Gothic by virtue of their narrative structure, rather than the actual content. 'The Castle of Otranto' would, I thought, be a 'proper' Gothic novel. Well, initially I thought I wouldn't persevere with it as the start is just ridiculous but I began to find the story strangely compelling and the characterisation and dialogue very funny. The problem I find in reviewing this book is that I couldn't take it seriously - I think it's hard for a modern Western reader to entertain the notion that the author's intention in writing this book could ever have been serious. What I loved most about 'The Castle of Otranto' was the warped morality. The story centres around Manfred's decision to divorce his current wife and marry a younger woman. Manfred is just an egotistical brute but it's very funny when the narrator's voice intervenes -quite frequently- to assure us that Manfred isn't really that bad! Also, the total lack of speech marks or paragraphing to indicate who's speaking just adds to the comedy of reading the story as you often get lost in the dialogue. Overall, I'm awarding 3 stars because I found the book entertaining. If you're inquisitive about the Gothic novel and you're not intent upon taking 'The Castle of Otranto' too seriously, it's worth a read.
BETWEENTHEPAGES More than 1 year ago
If you want to get an idea of what titillated readers like Jane Austen then delve into this book. This tale is sure to make modern readers stop and gape at the over dramatic moments of greed, horror, and ghosts but none the less it's still an intriguing look into a different time period in our literary past. Although, if while reading it you can't help but overlay a scene out of one of Shakespeare's comedies, falsetto voices et al .... don't worry your not alone.
Guest More than 1 year ago
As one of the most famous Gothic novels, I expected much more, but the flat characters and the way in which particular happenings were described belittled the story and made it seem rather silly. I would describe it as a mix between Hamlet and Beowulf. Other Gothic Romances are much more sucessful.
SlySionnach on LibraryThing 10 months ago
The original Gothic novel sets a standard of melodrama that soap operas would be proud to follow. And I say that in a good way. With hidden sons, love triangles, returning from the dead and ghosts and giants abounding, this quick read is good for a glimpse into what shaped the Gothic era of writing. Not wanting to say too much about the plot, since the story is only 92 pages long, I'll try to summarize it the best I can. Manfred, the current inhabitant of Otranto, is living according to a legacy that the true owner will come and take it from him. In an effort to prevent that, he decides that he must align himself with the rival family by marriage. Of course, nothing goes as planned.If you're interested in Gothic literature, why not read the source? It's quick, it's easy, and it's bound to entertain you.
amydross on LibraryThing 10 months ago
This story is often cited as the first/one of the first gothic novels, but it's hard to believe since even at this early date it already reads like pastiche. Far from being predictable archetypes, the main characters are constantly upsetting our expectations: the pure, steadfast maiden turns out to be gossip-y and backstabbing, the gallant hero tries to save the maiden and winds up accidentally stabbing her father, the pious friar turns out to be weak and self-serving... Certainly not what I was expecting from a "classic" gothic novel. Other than that, I don't know that I'd call Otranto a masterpiece, but it's definitely an interesting historical document.
Scribbler1 on LibraryThing 10 months ago
Brilliantly original at the time of its publication in the eighteenth century, The Castle of Otranto is distinguished as being the first work of Gothic fiction. It has always been the recipient of mixed reviews. It¿s worth bearing in mind the enormous fun Horace Walpole had in writing the novel; the humor in it seems sadly lost on many readers and critics. It is at once thrilling, funny and puzzling but remains a joy to read in the twenty first century. I recommend the Penguin Classics edition which contains sufficient notes and supplementary text necessary for a proper appreciation of the work.
billiecat on LibraryThing 10 months ago
Granting that this book has an important place in popular literature; granting that it influenced 'Gothic' writing for decades, and that its echoes can be heard today, granting all this, unless this is assigned to you in some class, don't waste your time. I have read other early Gothic novels, The Monk, Melmoth the Wanderer, Frankenstein, etc., and crude as they were they were light years ahead of Otranto. Spare yourself. Two stars for its historical curiosity, nothing else.
Anonymous More than 1 year ago
I have heard this story and author mentioned many timesin other fictions of the time. It is a strange story...rather Shakespearian...and oddly interesting. ~*~LEB~*~
Anonymous More than 1 year ago
This is typed out but filled with random characters making it very very difficult to read. A scanned original would be easier.
Anonymous More than 1 year ago
Scan of this to convolvted for me,
Anonymous More than 1 year ago
Agreed. It is illegible. Sometimes the f=f and sometimes the f=s along with many other jumbled letters and symbols that make it impossible to read. 
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This is illegible... if that's the right term. It's a jumble of letters and symbols.
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kcast610 More than 1 year ago
Horace Walpole is said to be the father of Gothic. I can certainly see how The Castle of Oranto could inspire a many a Gothic Novelists. My only gripe of this book would be of its brevity.
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Guest More than 1 year ago
The story of course is a bit silly, but if you love Gothic Literature, it's fun to explore it's origins.
Guest More than 1 year ago
the castle of otranto is a good book the story plot was amazing because the prince is a man name manfred who has a son name conrad and a daughter named matilda. manfred was marrying conrad of to a girl from another castle named isabella but conrad mysteriously get crushed by a helmet from there church and dies manfred flustated that his wife now hippolita want give him any mre children to be heir of his castle he tries to force isabella his sons now widow to marry him but she doesnt want to so she escapes to the church with the help of the peasant who mysteriously shows up after conrad gets crush.
Anonymous More than 1 year ago
"Your would be killer is a welp."