An important component of fiction is characterisation. But what does characterisation do for a story? It allows the reader to create a picture of the characters in a story in his mind and to empathise with the protagonist and secondary characters. Moreover characterisation moves the story of a literary text onward because fascinating characters and their actions are interdependent to the whole plot. This essay will look into the structural design of characterisation and how the principle of characterisation is significant in the unfold of the story.
The dramatis personae in The Castle of Otranto can be separated into primary characters, secondary characters and minor characters. The main characters occupy Manfred, the illegitimate Prince of Otranto, the villain; Matilda, his daughter; Isabella, the intended wife of his son, Manfred´s foster daughter, and Theodore, first a mysterious stranger and later revealed as the real Prince of Otranto. These characters are the most important characters because they appear frequently in the narrative and their actions and behaviours keep the plot in motion. The important secondary characters include Hippolita, Manfred´s devoted wife; Jerome, the friar and Frederic, the believed to be death Marquis of Vicenza, Isabella´s father. Minor characters, but nevertheless quite interesting and important ones for the outcome of the story, are the servants Diego and Jaquez and last but not least, the chambermaid Bianca. Additional characters like Conrad, the son of Manfred, and Alfonso´s ghost will not be considered in the essay. The first one dies in the beginning and never appears alive but he has to be mentioned because his death triggers the story off. The second one functions as kind of watchdog who reminds and threatens mostly Manfred and the domestics by causing supernatural events in the castle.
---Bibliographie
>Mandell, Laura (ed.). 2007. The Castle of Otranto by Horace Walpole [1764] and The Man of Feeling by Henry Mackenzie [1771]. New York: Longman.
>Napier, Elizabeth. 1984. The Failure of Gothic. Problem of Disjunction in an Eighteenth-century Literary Form. New York: Oxford University Press.
>Pfister, Manfred. 1994 [1988]. Das Drama. Theorie und Analyse. München: Wilhelm Fink Verlag.
>Nünning, Vera & Ansgar. 2004. An Introduction to the Study of English and American Literature. Stuttgart: Klett.
Table of Contents
1. Introduction
2. Analysis of Primary and Secondary Characters
2.1 Character Hierarchy and Roles
2.2 Interpretive Names and Authorial Method
3. Manfred's Character and Villainy
3.1 Speech Patterns and Emotional Expression
3.2 Psycho-narration and Character Development
4. Contrasting Female Figures
4.1 The Role of Hippolita
4.2 Matilda and Isabella's Behavioral Patterns
5. The Function of Minor Characters
5.1 Servants as Comic Relief and Plot Catalysts
5.2 Bianca's Impact on Narrative Outcomes
6. Static Nature of the Dramatis Personae
Research Objectives and Themes
This essay explores the structural design and functional role of characterization in Horace Walpole's The Castle of Otranto, specifically analyzing how the depiction of primary, secondary, and minor characters drives the narrative and reveals the moral landscape of the Gothic text.
- Examination of figural techniques and interpretive naming conventions.
- The psychological portrayal of the protagonist Manfred and his descent into villainy.
- Comparative analysis of female archetypes and their influence on plot progression.
- The narrative function of minor characters in creating tension and comic relief.
- Evaluation of character dynamics, focusing on static versus dynamic traits.
Excerpts from the Book
Form and Function of characterisation in The Castle of Otranto
Walpole does not describe his characters´ outward appearance and personality but shows them directly in action to speed the plot up (Cf. Napier 1987: 92). Instead, Walpole uses “interpretive names” (Pfister 1994: 263). This implicit-authorial method simplifies the reader´s imagination of the characters´ personality. For example: Matilda is an Old German name and stands for strength, power and fight. On the first sight the meaning does not seem to correspond to the character because Matilda is not a very active character. But on the second sight there are slight parallels. She shows strength and courage by speaking to a supposed ghost, she releases Theodore from prison, provides him armour and tells him where he should escape. She first fights against a marriage with Frederic but finally submits herself with greatness to her fate and to her death and even forgives her father for murdering herself.
Summary of Chapters
Introduction: This section defines characterization as a fundamental element of fiction and establishes the focus on how character design moves the plot in The Castle of Otranto.
Analysis of Primary and Secondary Characters: This chapter categorizes the dramatis personae and explores how interpretive naming and authorial techniques shape the reader's perception.
Manfred's Character and Villainy: The chapter investigates Manfred's speech patterns, emotional volatility, and the use of psycho-narration to portray his internal conflict and moral decline.
Contrasting Female Figures: This part highlights the roles of Hippolita, Matilda, and Isabella, analyzing their adherence to or departure from traditional social expectations and their impact on the narrative.
The Function of Minor Characters: The author examines the servants, particularly Diego, Jaquez, and Bianca, noting their role in providing comic relief and influencing key plot developments.
Static Nature of the Dramatis Personae: The concluding analysis posits that the characters in the novel are predominantly static, one-dimensional types designed to maintain narrative momentum rather than complex psychological depth.
Keywords
Characterization, The Castle of Otranto, Horace Walpole, Gothic Fiction, Figural Technique, Interpretive Names, Manfred, Psycho-narration, Static Characters, Narrative Momentum, Dramatis Personae, Literary Analysis, Villainy, Archetypes, Servant Figures
Frequently Asked Questions
What is the primary focus of this essay?
The essay examines the structural and functional role of characterization in Horace Walpole’s The Castle of Otranto, analyzing how different characters are designed to propel the Gothic narrative forward.
What are the central themes discussed in the work?
The central themes include the use of interpretive naming, the distinction between primary and minor characters, the psychological portrayal of the villain, and the function of archetypal figures in Gothic literature.
What is the main research objective?
The objective is to demonstrate how characterization techniques—such as speech and action—are strategically employed to keep the plot in motion and reveal character traits effectively.
Which scientific methodology is applied?
The author applies literary analysis based on narratological theories, specifically drawing on concepts from Manfred Pfister’s "Das Drama" and Nünning’s work on literary studies.
What does the main body cover?
The main body covers a hierarchical breakdown of characters, an in-depth look at Manfred's personality, the comparison of female characters, and an evaluation of how minor figures function as plot devices.
Which keywords best characterize the paper?
Key terms include characterization, Gothic fiction, figural technique, interpretive names, psycho-narration, and static vs. dynamic characterization.
How does Manfred’s speech reveal his true nature?
Manfred’s speech is characterized by emotional intensity and aggressive vocabulary, which the author argues reflects his frantic state of mind and villainous intentions.
What role does Bianca play in the novel's plot?
Bianca serves as a gossipy, simple-minded servant whose unintentional actions and interventions repeatedly delay or undermine Manfred’s cruel plans, often changing the course of the story.
- Citation du texte
- Susanne Huse (Auteur), 2007, The form and function of characterisation in "The Castle of Otranto", Munich, GRIN Verlag, https://www.grin.com/document/86886
