Contents introduction chapter I. Horace Walpole is one of the influential writers

Actuality of the qualification paper. Indeed, every topic in the literature is relevant. If you don’t know what gothic literature is, the quickest and simplest description I’ve heard was “enhanced melodrama”. This is very convenient. Everything in a Gothic work heats up to eleven, whether it’s emotions, crimes, dramatic twists and turns, and hell, and even more often the weather. Once upon a time, gothic novels were a particularly flourishing genre (less so now), but I think if we better remember gothic fiction, it’s gothic horror, which is actually the basis of my personality. Many (I also have) know Mary Shelley’s novel Frankenstein as her first science fiction novel, but you can also call it a gothic horror. Similarly, some of Edgar Allan Poe’s works (“The Fall of Usher’s House,” for one; “Fairytale Heart,” for another).
Aim of the work: The aim of my course work is to study the origins of the first gothic novel, and to what extent its level of influence. We know that gothic works are one of the most interesting literary genres. The reader will always feel excited while reading this work. And the purpose of this work is to explain these processes.
Task of the work: The task of this work is to baton the gothic elements in the work, to study the genre of the gothic work, and to study its similarities and differences with other works.
Theoretical and methodological basic of the work: Otranto Castle, the first Gothic novel, was first published in 1764. Its author is Horace Walpole (1717-1797), but he claims to be a translation of a work published in Naples. Found in 1529 and recently in the library "Old Catholic Family in the North of England."

CHAPTER I. Horace Walpole is one of the influential writers
1.1. The Castle of Otranto and Shakespeare.
“The Castle of Otranto” tells the story of the castle owner Manfred and his family. The book begins on the wedding day of her Sickness son Conrad and Princess Isabella. However, shortly before the wedding, Conrad was crushed to death by a huge helmet that fell on him from the top. This inexplicable event is particularly appalling, based on the ancient prophecy that “Otranto Castle and its property must pass through the present family. decides to prevent the destruction by building and divorces his current wife Hippolita, who previously could not be a worthy heir to him due to Conrad's serious condition. His untimely death.
However, when Manfred wants to marry Isabella, he runs to church with the help of a farmer named Theodore. Manfred orders Theodore to be killed during a conversation with Jerome, the monk who provided Isabella's security in the church. When Theodore takes off his shirt to kill, Jerome recognizes the character under his shoulder and recognizes Theodore as his son. Jerome asks for his son’s life, but Manfred says Jerome has to give up either the princess or his son’s life. They are stopped by the sound of trumpets and the appearance of other royal knights trying to save Isabella. This forces the knights and Manfred to race to find Isabella.¹
Manfred frees Theodore, who is imprisoned in the tower, by Matilda, Manfred's daughter. He runs to the underground church and finds Isabella. He hides him in a cave and blocks him to protect him from Manfred and fights one of the mysterious knights. Theodore severely wounds the knight, who turns out to be Frederick, Isabella's father. With that he goes to the castle to sort everything out. Frederick falls in love with Matilda and he and Manfred reach an agreement to marry each other’s daughters. Frederick retreats after being warned by a skeletal figure.

Manfred, suspecting that Isabella is meeting Theodore in church, takes the knife to the church where Matilda is meeting Theodore. Thinking his daughter is Isabella, he stabs her. Then when Matilda died, leaving Manfred to repent, it became clear that Theodore was the real prince of Otranto. A giant ghost shape appears, announcing that the prophecy has come true and destroying the castle walls.

Manfred renounces the principality and enters the religion with Hippolita. Theodore becomes the prince of the ruins of the castle and marries Isabella because he can truly understand her grief.
Manfred is the ruler of Otranto Castle. He is the father of Conrad and Mathilda and the husband of Hippolita. After her son is killed by a helmet falling off, she intends to end her marriage to Hippolita after much younger Isabella, who is due to marry her son. Manfred is the main antagonist of the novel; he is a dictatorial ruler and father who puts the plot forward, depicting the insane cruelty that befell his children.
Hippolita is Manfred's wife and mother of Conrad and Matilda. After losing her son, only Matilda is left to fight the cruel way of thinking that her husband shows. Manfred wants to divorce because of his infertility and because their marriage is actually a lie because they are actually cousins. Hippolita, who is in danger of divorce, grieves, but obeys her husband's will. She is some kind of helper to her husband, giving up her morals and happiness to get what her husband wants.²
Hippolita 's fifteen-year-old son and Matilda's brother. In the early pages of the novel, she is crushed by a giant helmet on her way to her wedding with Isabella.
Matilda is the daughter of Matilda Hippolita and the despotic Manfred. He falls in love with Theodore because he is very upset that this love was not allowed by his parents. With Frederick’s arrival, things get more complicated as Frederick aspires to Matilda. She serves as a forbidden woman, which is an aspect of Gothic literature. At the end of the novel, he is stabbed to death by his father by mistake.
Isabella is the daughter of Frederick and the bride of Conrad (at the beginning of the novel). After Conrad's death, he prefers to be engaged to her than to his father, who pursues him throughout the novel, even though he doesn't love Conrad. Isabella and Matilda both briefly argue about how they feel about Theodore. After Matilda's death, Theodore settles into Isabella and they become the Lord and Lady of the castle.
Theodore - At the beginning of the novel, Theodore is just like a little hero, whose role is only to show that the helmet is associated with the fulfillment of the prophecy. However, after Manfred orders him to wear a helmet for his rudeness, he becomes the protagonist and he escapes, only to help Isabella escape the castle through the gate. Later in the novel, it is revealed that he is the lost son of the monk Jerome. Theodore continues to protect Isabella from Manfred's senseless lust. He wins the hearts of Isabella and Matilda, but after Matilda's death, he agrees with Isabella. Later, he continues to rule Otranto Castle.
Brother Jerome is the monk of a monastery near the castle of Otranto. Manfred tries to persuade him to support his divorce plan and his wife to follow the plan. It was later revealed that he was Theodore's father.
Frederick is Isabella’s long-lost father, who appears at the end of the novel. At first he resists Manfred until he agrees to marry Matilda.
Bianca is a servant of Matilda, who serves as a comic in a very melodramatic novel.
Diego and Jacques are two, along with Bianca and other servants at Otranto Castle.
In the foreword to the second edition, Walpole argues that the novel is “an attempt to mix the two types of romance, ancient and modern”. He defines the “ancient” novel by its fantastic nature (“its imagination and impossibility”), while the “modern” novel is rooted in literary realism.
Combining fantastic situations (helmets falling from the sky, walking portraits, etc.) in a supposedly “natural” way with real people, Walpole created a new and unique style of literary fiction that is often cited as a model for all. Subsequent Gothic novels.³
The Castle of Otranto and Shakespeare.
The first and most obvious connection with William Shakespeare is given by Horace Walpole himself in the foreword to Otranto's second edition, in which he "praises Shakespeare as a model of free imagination as part of a truly unique genius and defense." Otranto design. In addition to the introduction, Walpole uses a number of hints to Shakespeare’s works to further emphasize the connection between his work and Shakespeare. For example, in Hamlet, "Hamlet's meeting with the Ghost is a terrible example for Walpole."
Walpole presents a "more fragmented reworking" of the Ghost in Hamlet, which for Shakespeare served to reflect "the view of ghosts that is not currently allowed, but still popular Catholics tell the truth." In both Hamlet and Otranto, Catholic elements are designed to convey a greater sense of wonder and mystery to the Protestant audience of both works. The Catholic element was a necessary aspect of the “terrible template” that Walpole wanted to use.
The reference to Hamlet's experience with the Ghost serves not only as a "terrible template," but also as a way for the reader to see the play itself, and he does so in three different ways. First, Walpole presents Manfred’s encounter with Ricardo’s animated portrait as a reference to the original appearance of the pre-Hamlet Phantom. Second, when Brother Jerome informs Theodore of the dangers that may be in Otranto and urges him to take revenge, this is a direct reference to the Ghost's request to Hamlet to "remember [him]." Third, Frederick's encounter with the skeletal ghost resembles the last appearance of the Ghost in Hamlet.⁴