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The Shadow of Otranto: The Birth of Gothic Literature in 1764 Horace Walpole's The Castle of Otranto, published in 1764, is considered a pivotal work in British literary history as the first full-fledged Gothic novel. Originally published as a "translation of an ancient manuscript written in Italy in the 1500s," it deliberately employed the device of disguising itself as a historical text to avoid the author directly presenting a new literary genre. Readers approached the work expecting to read an ancient document, and as a result, the unfolding events—including the supernatural—were given a certain persuasive power. When Walpole later revealed himself as the author, the work was recognized as a new form blending classical romance with modern realism, establishing itself as the starting point of the Gothic novel. The setting is an imaginary medieval Italy. Lord Manfred was preparing to marry his son Conrad to Isabella to secure an heir for his family. However, on the wedd
ing day, a massive helmet from a suit of armor suddenly falls into the castle courtyard, crushing Conrad to death instantly. The castle folk interpret this as an ominous sign, recalling an ancient prophecy foretelling the return of the castle to its rightful bloodline. Only Manfred, the lord, is consumed by the fear of his family line ending. As an extreme measure, he schemed to take the young Isabella as his wife himself and produce an heir. Isabella, bewildered, fled from Manfred and escaped into a secret passage within the castle, where she encountered the young man Theodor. Theodor was a righteous youth, and his presence would eventually begin to shake Manfred's oppressive rule.

After that, inexplicable supernatural phenomena continued to plague the castle. Not only helmets, but also giant gloves and pieces of armor suddenly appeared, and the ghostly shadow of a knight was witnessed. These surreal occurrences happened one after another. They were harbingers of the bloodline secret hidden within the castle surfacing, hinting that the dominion seized by Manfred's ancestors was destined to be returned to its rightful heir. Theodore's origins also lie at the heart of the story. As the truth of his birth is revealed, the meaning behind the strange occurrences gradually comes into focus. By the story's end, the prophecy is finally fulfilled: the castle is returned to its rightful bloodline, and Manfred exits the stage, bearing his sins. This conclusion, where tragedy and redemption intertwine, is highly regarded for its unique structure blending elements of medieval romance and modern tragedy. The work's appeal lies in its vivid presentation of imagery ess
ential to later Gothic literature: a ruined castle, underground passages, an impending fate, a tyrannical father, a fleeing maiden, and ominous portents drifting through dimly lit stone rooms. While the exaggerations and dramatic developments may seem somewhat old-fashioned to today's readers, it was a bold endeavor for its time and exerted a wide-ranging influence on subsequent horror literature. The story itself is short and follows a straightforward structure, making it relatively easy to read even today and an excellent introduction for understanding the prototype of Gothic literature.