- The last paragraph of Chapter One is one clear example of the the author's attempt to create a rich, not shallow or one-sided, character out of Manfred. Is he successful? Why does the author bother to develop Manfred's character and show conflicting sides of his inner struggle?
- One element of the Gothic story is its use of the superstitious versus religion. Does this story show a conflict between the Christian faith and superstitious beliefs. Does the story's message, up until the end of Chapter 2, seem to favor or confirm one perspective over another?
Thursday, August 19, 2010
Castle of Otranto -- Questions response by 8/25/10
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The final paragraph of chapter one does seem to be an attempt by Walpole to enhance the character dynamic of Manfred and is, to some extent, successful. Walpole creates a human side to this character in giving him conflicting emotions. He is bound by his conscious to his wife, but is biologically inclined toward the young woman that he raised to marry his son. It is important to develop Manfred as a character to clarify the notion of good versus evil inherent in the human mind. He is a corrupted man surrounded by seemingly virtuous people and failure to develop Manfred as a character would make him seem more evil than he was meant to be particularly when viewed with Theodore or the princesses.
Superstition and religion are used by the characters in Castle of Otranto in different ways. Manfred focuses on the superstitious aspects of the action, such as blaming sorcery for the death of his son, and the others keep religion over the superstitious. There is a disparity in pious characters faithful to their religious views and Manfred, as well as the servants, who are more given to superstitious ideals. I don't think it favored either idea in an incredibly noticeable amount, but I was not really reading it and looking for that notion.
The author makes a valiant attempt to create a non-shallow and multi-faceted character out of Manfred, but does not entirely succeed in doing so. By the end of the first chapter, the audience is convinced that Manfred will stop at nothing to get his way. He "flattered himself that she [his wife] would not only acquiesce with patience to a divorce, but would obey, if it was his pleasure, in endeavouring to persuade Isabella to give him her hand..." (72) The author, however, did seem determined to at least show some effort in developing Manfred's character and showing his inner struggle because it does not allow the audience to completely write him off. While he is obviously the antagonist, he is also not entirely to blame for his situation. He is reaping what his forefathers sowed, and thus deserves some chance of redemption. To be human one must struggle inwardly at least a little bit--Manfred does so, allowing the audience to see his human frailty underneath the brusque, angry, forceful exterior.
There is a rather interesting juxtaposition of Christianity and superstition throughout this story. They are not quite in conflict, per se, but do add an interesting level to a tale otherwise interspersed with Christian elements. up until the end of Chapter 2, the story seems to favour the idea of superstition much more. Elements such as the giant magical helmet and ghostly apparitions give credence to this idea. The characters rely on their faith to prevent them from being frightened to death, but are firmly rooted in superstition as to why the apparitions are there, what they represent, and how they should be treated.
1. In this paragraph, the author allows the reader to follow Manfred’s internal monologue. In this monologue, he shows that he is capable of feeling ashamed of his actions. The text is vague, however, and I find myself unsure of whether the “princess” herein referred to is Isabella or Hippolita. He treated both princesses “inhumanly,” and they both responded with “tenderness and duty.” Isabella continues to refer to him as her father-in-law and attempts to respect him as a parental figure. Hippolita is the epitome of the devoted, obedient wife: she acquiesces to Manfred’s every whim. She even goes so far as to silence her chaplain from speaking anything that disagrees with Manfred’s opinions. Manfred rewards the devotion of these two princesses by lusting for one and devaluing the other. The author’s inclusion of this monologue simply solidifies the reader’s contempt for Manfred. He is aware that he should feel shame and remorse for his actions, but he fully intends to continue on his predetermined plan of action. He becomes even more despicable by showing that he has a grasp of morality, but he refuses to use it.
2. This story, written in 1765, and set between the eleventh and thirteenth centuries, is full of superstitious views and Christian beliefs. The seemingly contradictory nature of these sets of beliefs does not pose a problem for the characters; they simply accept superstitious beliefs as a part or extension of Christian beliefs. They fall on the young peasant, calling him a sorcerer and a necromancer. They fear the unburied prince’s ghost because his body has not been given a Christian burial. The characters fear magic/sorcery as something demonic, yet not all things otherworldly are automatically evil. For instance, when the plumage on the helmet waves in protest of Manfred’s attempted incest, Isabella instantly exclaims, “Heaven itself declares against your impious intentions!” When the ghostly foot appears in the castle, the servants seem unsure of its origin—heaven or hell—but find it to be an unhappy omen, bringing punishment or a curse. These sets of beliefs coexisted for these characters; they were held with equal reverence.
~Melissa Carden
The first chapter's final paragraph is only one of very few attempts made by Walpole to illustrate a sense of emotional depth in Manfred. The short lived internal display of compassion is a minute departure from Manfred's previous single-minded pursuits that benefit only himself. Manfred's actions are of such a self-serving manner that it might be necessary for Walpole to develop some semblance of morality in Manfred if he wished his reader's to sympathize with him.
In the first two chapters the relationship between the Christian and superstitious elements do not appear to be in direct conflict. Though, it is interesting that the initial appearance of the superstitious did directly prevent two characters from being wed in holy matrimony. Also, it is peculiar that the superstitious instrument appears to have originated from, "the church of St. Nicholas" (54). Before the end of chapter two the story is permeated with elements of a superstitious nature such as a massive helmet, a spectre, and a large armored leg.
The very last paragraph of Chapter One surprisingly brings several new components to the character of Manfred at. By demonstrating an inner turmoil within Manfred's mind, the author definitely creates a more dynamic character than what the rest of the chapter produces. As readers begin to understand the harsh and rigid disposition of Manfred, it is suddenly cut short by his incapability to prevent guilt from rising within his mind. While this does lend proof that the antagonist possesses the ability of redemption, it is obvious to see that his refusal of these emotions and thoughts prove that he is nothing more than evil. Even while understanding that he is doing wrong, he chooses to carry on. He is far from a shallow character because he makes his choices while knowing the consequences they have for his wife, daughter, and Isabella. By inwardly acknowledging his atrocities, Manfred is far from one-sided; he simply chooses to repress his guilt and carry on in selfishness.
Although there are both Christian and superstitious elements to the tale, both find a way to have a niche and purpose within the story. While the characters seem to be Christian, most are burdened with utter fear of the superstitious realm. This may point to the lack of any true Christian belief, yet one explicit detail argues otherwise. While Manfred seems anything but astounded at the unexplainable and horrific events, Isabella seems certain that she will find safety from her pursuer at the church of saint Nicholas. Supernatural happenings did not stop this madman from pursuing her, yet she runs towards the church with no doubt in her mind that his “violence would not dare profane the sacredness of the place” (61). This points towards Manfred’s apathy of the superstitious, yet a very true fear of the holy.
Speaking to the first question, perhaps the author does reveal Manfred’s more humane qualities; after all, he is on the verge of betraying the one individual who remains completely loyal to him, above herself and even her children. Unlike other characters, Hippolita serves none above Manfred (with the exception, perhaps, of religion). It would seem almost awkward if Manfred felt no remorse. Furthermore, readers cannot help empathizing with Manfred, making his role something obscure. At times it is impossible to decipher whether or not he is a villain or merely a man in a difficult situation. Disturbing, however, is Manfred’s inability to maintain static convictions. His thoughts are violent extremes, a trait that denotes his unsound mind.
Both Christian and superstitious beliefs are prevalent throughout the story. Though not difficult to assume the presence of both would render conflict, the two themes often work in conjunction with one another. Christianity and superstition persistently haunt characters, particularly Manfred, who is punished for betraying Christian commandments. Christianity and superstition also act as tools of punishment. Theodore’s imprisonment under a massive supernatural helmet, for instance, is a highly symbolic punishment. This faux act of poetic justice uses superstition while punishing Theodore for breaking Christian pillars. The two motifs seem to utilize each other, manipulating events when necessary.
1. The last paragraph of chapter one seems to be a weak attempt by the author to make Manfred less one-sided. Up until this point Manfred has been portrayed as a villian with no good qualities whatsoever. He is ruled solely by his temper, and seems incapable of rational thought. Although the author does further develop Manfred in later chapters, I think a better job could have been done the beginning. One paragraph was hardly enough to change my mind after a whole chapter of Manfred's complete evilness.
2. In the first 2 chapters, superstition and the Christian faith are able to coexist without clashing. Although most of the characters seem firmly to believe in the Christian faith, they do not have much trouble accepting the presence of the supernatural in the castle. This is typical of the medieval time period, where pagan and christian beliefs were often combined.
Leigh Lawrence said;
In the last paragraph of the first chapter, Walpole tries to give Manfred a conscience. Manfred shows that he may have a heart after all. Manfred has a lot of demons in which he seems to be fighting within his own mind. Walpole shows how Manfred rules his kingdom with hatred and attitude. I feel that Manfred is all evil. His evil within himself is what makes him scarry and brings the meaning of Gothic to life.
Leigh Lawrence
The element of the Gothic story is its use of the superstitious versus religion and this story is a prime example of christian faith and superstitious beliefs at battle within one person, who shares his battles with all to whom he loves. The whole kingdom is superstitious when it comes to the curse. They are religious as well. They sometimes confuse the two. The story clearly depicts the battles of good and evil that dwells within Manfred.
Wanda Isham says ... Although Manfred seems ashamed of his behavior toward his wife, he is not so ashamed that he does not continue with his divorce plans. Therefore, his character has not really changed. Manfred models his actions on what is best for Manfred -- no matter who he hurts in the process. The passage at the end of Chapter One just emphasizes Manfred's depravity; it does not highlight any remorse on his part.
Religion and superstition seem to be evident in equal amounts, but the religious leans heavily to the feminine side. The men seem to consider religion there to be used for their own benefit, but otherwise to be ignored. The women, especially Hippolita, are guided by their religious beliefs. Superstition played a large role at this time in history, so it is not unusual to see the peasants, and even the aristocracy, believing in what we might consider weird or unusual. Religion and superstition intermingled in the minds of the people to such a degree that unusual events might be interpreted as either supernatural or miraculous, depending on the circumstances.
I enjoyed reading each of your responses here, and I am sorry that I have not commented sooner due to illness. Please continue to post on the next set of questions, as I have only received one comment as of today. Posts are due by Thursday, and my comments on that day also. Thanks. :)
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