Gothic Translatio Studii: Menippea in Walpole’s The Castle of Otranto
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There are two immediate implications for Horace Walpole’s The Castleof Otranto (1764): first, a revised sense of the category of Gothic; andsecond, a revised sense of Menippean satire in eighteenth-centuryEngland. The Castle of Otranto is not a Gothic novel as we understandthat category to be constituted, precisely because the Gothic coalesced asa category after, and only because of, Otranto’s initial publication. Sorather than being the beginning of the Gothic tradition, Otranto is theculmination of another Menippean satire. Building on the work of M.M. Bakhtin’s Problems of Dostoevsky’s Poetics and Rosemary Jackson’sFantasy: The Literature of Subversion, I argue that The Castle of Otrantois menippean not because of what it cites, but rather because of the wayin which it cites. Most approaches to Gothic literature concern themselveswith the problems of subjectivity, with the ways in which the subjectand its psyche are fissured. A menippean reading of The Castle ofOtranto likewise privileges fissures, but it looks for them in the gapsbetween generic systems. As a mode that infects literature from numerousdifferent genres, menippea allows us to get away from questions ofwhere texts belong, and allows us to ask questions of where a text hasbeen and where it is going. An examination of Otranto’s Greco-Romanorigins paradoxically reveals an increasingly determined relationship withtradition and also the text’s significantly liberated stance from tradition.
Abstract
There are two immediate implications for Horace Walpole’s The Castleof Otranto (1764): first, a revised sense of the category of Gothic; andsecond, a revised sense of Menippean satire in eighteenth-centuryEngland. The Castle of Otranto is not a Gothic novel as we understandthat category to be constituted, precisely because the Gothic coalesced asa category after, and only because of, Otranto’s initial publication. Sorather than being the beginning of the Gothic tradition, Otranto is theculmination of another Menippean satire. Building on the work of M.M. Bakhtin’s Problems of Dostoevsky’s Poetics and Rosemary Jackson’sFantasy: The Literature of Subversion, I argue that The Castle of Otrantois menippean not because of what it cites, but rather because of the wayin which it cites. Most approaches to Gothic literature concern themselveswith the problems of subjectivity, with the ways in which the subjectand its psyche are fissured. A menippean reading of The Castle ofOtranto likewise privileges fissures, but it looks for them in the gapsbetween generic systems. As a mode that infects literature from numerousdifferent genres, menippea allows us to get away from questions ofwhere texts belong, and allows us to ask questions of where a text hasbeen and where it is going. An examination of Otranto’s Greco-Romanorigins paradoxically reveals an increasingly determined relationship withtradition and also the text’s significantly liberated stance from tradition.
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