Castle Of Otranto Quotes

He was persuaded he could know no happiness but in the society of one with whom he could for ever indulge the melancholy that had taken possession of his soul.

I can forget injuries, but never benefits.

But alas! my Lord, what is blood! what is nobility! We are all reptiles, miserable, sinful creatures. It is piety alone that can distinguish us from the dust whence we sprung, and whither we must return.

A bystander often sees more of the game than those that play

There is no bombast, no similes, flowers, digressions, or unnecessary descriptions. Everything tends directly to the catastrophe.

I fear no bad angel, and have offended no good one.

Heaven mocks the short-sighted views of man.

This is a bad world; nor have I had cause to leave it with regret.

LADY CROOM: You have been reading too many novels by Mrs Radcliffe, that is my opinion. This is a garden for The Castle of Otranto or The Mysteries of Udolpho -- CHATER: The Castle of Otranto, my lady, is by Horace Walpole. NOAKES: (Thrilled) Mr Walpole the gardener?! LADY CROOM: Mr Chater, you are a welcome guest at Sidley Park but while you are one, The Castle of Otranto was written by whomsoever I say it was, otherwise what is the point of being a guest or having one?

It is sinful to cherish those whom heaven has doomed to destruction.

The gentle maid, whose hapless tale, these melancholy pages speak; say, gracious lady, shall she fail To draw the tear a down from thy cheek?

This life is but a pilgrimage.

It is natural for a translator to be prejudiced in favour of his adopted work. More impartial readers may not be so much struck with the beauties of this piece as I was. Yet I am not blind to my author's defects.

My veracity is dearer to me than my life," said the peasant; "nor would I purchase the one by forfeiting the other.

My soul abhors a falsehood

Nor have I forgotten sir. that the charity of his daughter delivered me from his power. I can forget injuries but never benefits.

The hearts of both had drunk so deeply of a passion which both now tasted for the first time.

Mr Chater, you are a welcome guest at Sidley Park but while you are one, The Castle of Otranto was written by whomsoever I say it was, otherwise what is the point of being a guest or having one?

The first unanalysed impression that most readers receive from Jane Eyre is that it has a very violent atmosphere. If this were simply the effect of the plot and the imagined events then sensation novels like Walpole's The Castle of Otranto or Mrs Radcliffe's The Mystery of Udolpho ought to produce it even more powerfully. But they do not. Nor do they even arouse particularly strong reader responses. Novelists like Charlotte Brontë or D. H. Lawrence, on the other hand, are able quite quickly to provoke marked reactions of sympathy or hostility from readers. The reason, apparently, is that the narrator's personality is communicating itself through the style with unusual directness.

and then the figure, turning slowly round, discovered to Frederic the fleshless jaws and empty sockets of a skeleton, wrapt in a hermit’s cowl. “Angels of peace protect me!” cried Frederic, recoiling. “Deserve their protection!” said the spectre.

Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.

Look, my Lord! see, Heaven itself declares against your impious intentions!” “Heaven nor Hell shall impede my designs,” said Manfred, advancing again to seize the Princess.

I desired you once before,” said Manfred angrily, “not to name that woman: from this hour she must be a stranger to you, as she must be to me.  In short, Isabella, since I cannot give you my son, I offer you myself.

He sighed, and retired, but with eyes fixed on the gate, until Matilda, closing it, put an end to an interview, in which the hearts of both had drunk so deeply of a passion, which both now tasted for the first time.

I come," replied he, "to thee, Manfred, usurper of the principality of Otranto, from the renowned and invincible Knight, the Knight of the Gigantic Sabre: in the name of his Lord, Frederic, Marquis of Vicenza, he demands the Lady Isabella, daughter of that Prince, whom thou hast basely and traitorously got into thy power, by bribing her false guardians during his absence; and he requires thee to resign the principality of Otranto, which thou hast usurped from the said Lord Frederic, the nearest of blood to the last rightful Lord, Alfonso the Good. If thou dost not instantly comply with these just demands, he defies thee to single combat to the last extremity.

She had read too many romantic novels of a dark and dreary bent to really be surprised—The Castle of Otranto was one of her favorite English reads. For all intents and purposes, she was the overwrought, terrified heroine wandering around a cursed castle at night, seeing things in the shadows, jumping at noises. Plus

The Castle of Otranto,