Bakey1
Religion in the Gothic as Established by Horace Walpole
The genre of Gothic literature is rich with conventions and themes that have survived
since its inception. Authors from each time period manipulate these boundaries as they wish,
tailoring them to their own culture and society. The Castle of Otranto set the standards for which
all other Gothic novels followed. Written by Horace Walpole, it was the first of its kind and
created the genre that has given birth to modern horror: the Gothic.
Gothic literature is filled many tropes, one of which is religion. The Castle of Otranto
highlights the struggle for power between the state and the church institutions that was present in
eighteenth century England. England is a country that has undergone many different rulers with
multiple religious affiliations. Religion has sparked war and caused people to go into hiding
because of their faith. Understanding the religious atmosphere at the time Walpole was writing is
important to fully understanding the motives, attitudes and larger meaning behind his characters.
To get an accurate understanding of what was taking place, historical events must be examined
back to the sixteenth century.
In the sixteenth century, there was religious upset when Henry VIII was not permitted to
violate the rules of the Catholic Church to get a divorce. As a result, the Church of England was
formed in 1534, which was the catalyst for the English Reformation, and the monarchy distinctly
broke ties with the Catholic Church. This rift, however, did not last for long. In 1553, Queen
Mary I, Henry VII’s daughter, began her reign. She was a devout Catholic and tried to force the
English back towards Catholicism, and was known for burning Protestants while persecuting
many other religions. Queen Mary I’s systematic destruction and religious intolerance sparked a
deep Anti-Catholic in England that remained for following centuries. After Queen Mary I’s
death, Queen Elizabeth came to the throne in 1558. She was a Protestant, but kept Catholic
Bakey2
symbols common. However, she did de-emphasize the role that sermons played, which is part of
Protestant tenants.
Legislation passed by parliament during the seventeenth century began to include
religious slant. In 1689, William III and his wife (and cousin) Mary were introduced as monarchs
to England, Ireland and Scotland. When they were inducted into the system, new legislation was
passed to move much of the power from the monarchy to parliament (BBC). In 1689, religious
diversity was starting to emerge in the mainstream culture in England, as it became legal for
other faiths to be practiced. Only nine years later, the Blasphemy Act of 1698 was passed, which
made the disbelief in the Holy Trinity a federal offense that was punishable by imprisonment
(Smitha). However, these laws were not strictly enforced, regardless of the pretense it set for
anyone who was not Catholic. With the passage of these laws, the elected government started
dealing more with religion, and it is at this time where the struggle between religion and the state
starts to become very distinct.
As England moved into the eighteenth century, Catholics were a serious minority,
constantly victimized by the Protestants, who “remained fearful of plots to bring Catholicism
back via England’s enemies” (Smitha). Throughout this century, the state started to adopt the
need for religious uniformity. The conservative party at the time was greatly attached to The
Church of England and strived to unite the state with the church (Smitha). They sought this
because they feared the consequences for a nation that did not have unified beliefs. They
perceived disjointed beliefs as “an affront to God. . . [and] threatened the salvation of individuals
and national security” (Smitha). However, their efforts to unite the state with the church were
fruitless, and the two remained separate from one another.
Bakey3
Just from this brief overview, it is apparent that the state and the church have been
closely intertwined for centuries. State powers, whether monarchs or parliament members, have
tried to wield religion over the country. However, the state and the church are separate
institutions, with their own power. When brought together, there has always been tension:
nonbelievers persecuted and new religions formed. Historically, there has been a struggle
between the rule of religion versus the word of the state.
The state has always focuses on converting the public to its personal religious affliction,
and Gothic literature comments on this governmental obsession. In his article, Mark Canuel
discusses Catholicism in literature as a representation of “a form of government in Britain itself
which the Gothic novel participated in dismantling” (508). He supports his claim by saying that
life in the monastery depended on complete agreement of its inhabitants, which is clear parallel
to a unified belief system that many British governments tried to achieve. This insistence on
unity, Canuel notes, within belief systems caused many people to lie about their convictions, for
fear or punishment or exclusion. Lying, he asserts, was “a necessary byproduct of the structure of
established religion” (511-2). One could say that this is mirrored in the perversion and hypocrisy
that lies within many of the religious institutions in Gothic literature.
While religion in Gothic novels serves as the image of British government, religion can
also reflect the social movement away from these institutions. As Helen Stoddart remarks in her
entry in The Handbook to Gothic Literature, Satan does not often appear as a character in Gothic
literature; rather, other characters take on satanic characteristics (44). This suggests a lot about
how Gothic authors and audiences were thinking about evil forces. By humanizing these forces,
there is a stronger emphasis on human agency, instead of uncontrollable entities. Focusing the
power more towards humans is a distinct reflection of a more secular attitude in Gothic authors
Bakey4
and readers. Within The Castle of Otranto, Manfred acts in many satanic ways. He is the main
villain, and pursues a woman against her will; he strives to get a divorce, and kills his own
daughter. Every action he takes goes against the morals and rules of Catholicism. His
transgressions cause desolation and fear for everyone. As Isabella is running away from his
aggressive pursuit, “[h]er dread of Manfred soon outweighed every other terror” (Walpole 28).
At that moment, she is running through an underground tunnel that she does not know, filled
with darkness. However, Manfred and his chase is more terrifying than the unknown,
subterranean passage. Manfred is clearly a diabolical figure.
While on the surface, having a villain who shares satanic characteristics may appear to be
praising Catholicism. However, what is significant here is that Walpole creates a conflict
between lesser forces. The demonic entity is not an all powerful hell being, but a man desiring
his throne. The force of good and morality is not the omniscient God. This shift into human
conflict highlights the power struggle that exists between the state and the church. Manfred is
trying to overcome the Catholic Church and Father Jerome; he is fighting against institutional
law. By portraying this conflict in clearly diminished forms, as neither are demons or gods,
Walpole is making the struggle between the power held by the state and the power held by the
church very clear.
Walpole also complicates the relationship between the state and the church by creating a
compound character. Father Jerome, while a clergy member of the church, is a composite
character. When readers first meet him, he is see as simply a religious man. He represents
Catholicism and its institutions. At times, he even appears to Manfred as a moral compass,
urging him not to sin and violate the laws of the church. However, further into the novel, it is
discovered that he is the father of the young peasant who Manfred was trying to execute.
Bakey5
Jerome’s meaning is then more nuanced as he is now both a religious authority and the head of
household. He mysteriously joins the state and the church, almost seamlessly. Canuel points out
how his complex standing is furthered by the structure of the castle: “the ‘subterranean passage’
between the castle and the church conveys some of the ambiguity surrounding the place of the
ecclesiastical government as either a foundation for legitimate authority, or a mutable, infinitely
corruptible instrument of state power” (516). Jerome’s influence seems inconsistent, at times,
which is a result of his composite nature. There are moments when he is completely powerless,
unable to stop Manfred’s destructive deeds. When Manfred is trying to get Hippolita to agree to
a divorce, Jerome is unable to persuade him to see the error of this. However, he is essential for
the restoration of the true heir to the Otranto throne, which happens to be his son, Theodore.
Jerome, and Jerome alone, knows the truth about his son’s identity and it becomes his
responsibility to share such knowledge so that the rightful king can take the throne.
Through creating the complex and compound character of Jerome, Walpole is offering
his resolution to the state-church power struggle. When Jerome is being a clergy man, his word
seems to have no weight with Manfred; he is incapable of steering the madman away from sin.
When Manfred is trying to get Hippolita to agree to a divorce, Jerome is unable to persuade him
to see the error of this. However, when he is being a father to his son, his power is strongest and
successful. This is seen by Jerome’s success in restoring the rightful king, but also in his
protection of Isabella. He does not yield to Manfred’s demands to bring the girl back, saying “[i]t
is my duty to prevent her return hither. . . She is where orphans and virgins are free from the
snares and wiles of this world; and nothing but a parent’s authority shall take her thence”
(Walpole 49). Jerome utilizes his resources to ensure Isabella’s safety. He protects her from a
lecherous man as a father would, caring for her safety in a paternal manner. Through embracing
Bakey6
the role of the state, of the head of a house, Jerome is able to secure his son’s rightful place and
bring resolution to one of the major conflicts in the novel. Walpole is suggesting here that the
state’s power ultimately has supremacy over that of the church’s.
The Castle of Otranto is a highly influential novel; Walpole sets conventions for future
authors, and creates a new genre that will endure for centuries. The characters within the novel
seem inconsistent, especially Father Jerome. However, by examining the historical context of
religion in England and by understanding the power struggle that was present between the state
and the church, the meaning behind these characters
Works Cited
Canuel, Mark. “‘Holy Hypocrisy” and the Government of Belief: Religion and Nationalism in
the Gothic.” Studies in Romanticism. 34:4 (1995). 507-530. JSTOR. Web. 16 Feb. 2014.
"More Information About: William III (of Orange)." BBC News. BBC,
n.d. Web. 13 Feb.
2014.
Smitha, Frank E. "Britain in the Mid-1700s." Macrohistory and World Timeline. N.p., 2001.
Web. 13 Feb. 2014.
Stoddart, Helen. “The Demonic.” The Handbook to Gothic Literature. Ed. Marie
Mulbey-Roberts. New York: New York University Press, 1998. 43-45. Print.
Walpole, Horace. The Castle of Otranto. Oxford: Oxford University Press, 1764. Print.