The Castle of Otranto

How does the novel’s use of medieval elements demonstrate its origins in chivalric romance? How does it forecast the future of Gothic fiction?

Are Manfred’s fears for the future of Otranto purely selfish, or does he have concerns outside of his own interests? Does the novella expect readers feel sorry for him at any point? Why or why not?

Consider the novella’s identification of the Catholic Church with sanctuary and safety. Why is the Church of St. Nicholas a safe haven from the terrors of Otranto? Why do Hippolita and Matilda wish to become nuns? If the Church is a protective institution, does Manfred’s decision to become a monk shield him from proper punishment? Why or why not?

Compare and contrast the supernatural figures that guide events. Why do so many of the ghostly characters—Alfonso the Good, the portrait of Ricardo, the skeletal spirit of the hermit—mostly function to lead or direct the living?

Compare Manfred, Frederic, and Theodore as rulers. Does the novella suggest that Theodore will be a good Prince of Otranto? Why or why not?

The novella features several generations: grandparents (Ricardo and Alfonso), parents, and children. How do descendants repeat the mistakes of their ancestors? What does the novella say about generational trauma?

Dreams play a significant role in the novel. How does Walpole weave dream imagery into the story?

Is the novella a serious commentary on society or politics? Why or why not?