UNIVERSITY ‘DUNĂREA DE JOS’GALAȚI
FACULTY OF LETTERS
INDIVIDUAL PORTOFOLIO
ENGLISH LITERATURE. 17TH AND 18TH
CENTURIES. 2022-23
Professor Student
IOANA MOHOR-IVAN COMAN CLAUDIA-NICOLETA
Galați
2023
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CONTENTS
[Link] Lyric Mode during the 17th century:Cavalier and Metaphysical poetry.........3
II................................................................................................................................4
[Link] Milton: from lyric poetry to the epic.............................................................4
[Link] Satire: John Dryden, Alexander Pope, Jonathan Swift...................6
IV. Restoration Drama: the heroic tragedy vs. the comedy-of manners...................8
[Link] Rise of the 18th -century English Novel and its Pioneers (Defoe,
Richardson, Fielding, Sterne)..................................................................................10
[Link] of novel writing in the Age of Sensibility...........................................12
2
[Link] Lyric Mode during the 17th century:Cavalier and Metaphysical poetry
[Link] Cavalier are a group of poets associated with the Court as“cavaliers”, not only in
thesense of being Royalists in opposition to thePuritan Roundheads, but also as
Renaissance“Courtiers”, havingaccepted the ideals of the Renaissance gentleman popularised by
Castiglione’s The Courtier: at once a lover, soldier, wit, man of affairs,musician and poet.
The characteristic theme of their verse islove,which is more carefree, flippantand often
[Link] dichotomy betweenArt / Natureis also present in much Cavalier [Link] poems
are also hedonist,embodying the very essence of the Latin carpe diem (seize the day)
[Link] for the darkside of the poems is provided by the sense ofimpending decay or death
implied in the theme of transience.
Metaphysical is a term used to group together certain 17thcenturypoets like John
Donne,Andrew Marvell,George Herbert, Henry Vaughanor Richard [Link] the Cavalier
poets, the Metaphysical poets were fond of abstruse imagery andcomplicated metaphors,sharing
common characteristics of wit,inventiveness, and a love of elaborate stylistic manoeuvres.
The characteristic theme of their verse este love and the physical attraction between men and
[Link] others themes of their verse are death,the brevity of human life,the individual’s
relationship with God.
B. Illustrate its characteristics through a comparative analysis of two texts (open choice
from Cavalier and Metaphysical poems).
To the Virgins, to Make Much of Timeis a Cavalier poetry because the carpe diem motif is
[Link] poet encourages the young ladies to make the most out of their youth while they still
[Link] theme of the poem is the transient nature of [Link] language of poetry is figurative.
For example,the sun is personified and is termed as“the glorious lamp of heaven”.The poet tells
the “virgins” to gather their flower while they can because time is always flowing on. Also a
flower which is thriving in the present will be dying in the future. By using this image, Herrick is
comparing virgins, young, innocent youth, to flowers.
To the Virgins, to Make Much of Timeis composed of four stanzas, each consisting of four lines
of verse. Each stanza is composed of a single sentence. The poem employs end rhymes, the
rhyming pattern being abab, cdcd, efef, ghgh.
A Valediction: Forbidding Mourningis a metaphysical poetry because Donne brings out a
parallel between the relationship of his and his lady’s soul to the coordinated movements of the
[Link] love is compared to the death of a holy man. Again love is compared to pure
[Link] use a figurative language by comparing the separation of one lover from another to
the separation between individuals caused by death.
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A Valediction: Forbidding Mourning is composed of nine four-line stanzas calledquatrains, each
with an alternating abab rhyme scheme.
II.
[Link] Milton: from lyric poetry to the epic.
John Milton is the last great liberal intelligence of the English Renaissance, as the values he
advocated in his work are: tolerance,freedom and self-determination, the same that Shakespeare
hadexpressed in his time.
The main phases of Milton's literary career were:
a)Early (occasional) poetry (1629 – 1632)include the famous On the
Morning of Christ’s Nativity (1629), his first considerable poem inEnglish.
b)Pastoral works (1632 – 1638)the works reflect the poet’s mood as he lived in retirement at
his father’s country-house in Buckinghamshire,for example:L’Allegro and Il Penseroso (c.
1632),Comus(1634),Lycidas(1637).
c)Propagandistic texts (1642 – 1660)during the period of the Civil wars and the
Commonwealth all of Milton’s energies went into the support of radical republicanism,
his work becoming civic and utilitarian.
d)Late epic works (1663 –1671)Milton returned to the full-time composition of
poetry,producing the three great epics which mark the end of his literary career:Paradise Lost
(1667), Paradise Regained (1671),Samson Agonistes (1671).
B. Compare and contrast one poem illustrative for Milton’s pre-Restoration verse with one
of his epic poems.
On Shakespeare vs. Paradise Lost
On Shakespeareis a tribute poem focus on theimage of [Link] this poem, Milton tried to
honorShakespeare and his literary achievements.
The sonnet's first two lines question the need of Shakespeare's "honor'd bones" to berepresented
in "piled Stones," while lines 3 and 4 continue the inquiry, wondering that "his hallow'd relics"
would "be hid / Under a Star-ypointing Pyramid."Milton adopts a traditional sentiment in line 8
to note the poet had built himself "a livelong Monument" in his poetry, or "thy easy
numbers." The lines have made "deep impressions" in the hearts of their readers, suggesting that
Shakespeare is the engraver. The allusion becomes fact in lines 11 through 12, when Milton
writes, "Then thou our fancy of itself bereaving, / Dost make us Marble with too much
conceiving," perhaps suggesting that with Shakespeare went man's ability to imagine, leaving
him no more creative than cold hard stone. However, the clearer suggestion is that Shakespeare's
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readers will become his last resting place, as the sonnet closes, "And so Sepulcher'd in such
pomp dost lie, / That Kings for such a Tomb would wish to die." Even the most powerful ruler
would be jealous of one laid to rest in the hearts of his admirers.
OnShakespeareis a sixteen line poem contained within one stanza. The lines are divided into
heroic couplets.
Paradise Lost is amajor epic poem in [Link] of the themes present in Paradise Lost is
[Link]’s vision of Creation in Paradise Lost is highly organized. It includes Heaven, the
stars and planets, the Earth, Eden, the deep tract of Hell, and all of the plants, animals, and
reasoning beings that populate these [Link] theme is to “Justify the Ways of God to
Men”.In the poem, Milton shows that only by freely and actively refusing to do evil can we
claim to be [Link] themes are the desire for knowledge and Christian Heroism.
The poem tells the story of the fall of man through the eyes of muses that have given Milton the
ability to see how such events played out. Throughout the poem, the reader is given Milton’s
interpretation of the fall of Satan from God’s grace, the creation of God’s son, Jesus, the
temptation of Adam and Eve and their expulsion from the Garden of Eden. Throughout the
poem, Milton frequently uses the narrative device of the muses to begin new sections and
illustrate the themes and messages of the [Link] consists of two parts:Fall of Satan and his
rebellious angels and Fall of Man.
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[Link] Satire: John Dryden, Alexander Pope, Jonathan Swift
A. John Dryden (1631-1700) is the dominant figure in the literature of the Restoration, a highly
prolific writer expressing himself in all the important contemporary forms (odes, satires, epistles,
fables, literary criticism, drama), as well as always placing himself at the centre of the greatest
debates of the time (be them political, religious, or the specifically literary questions of
neoclassicism).
Alexander Pope (1688-1744)is the greatest poet of the Augustan age, in many ways summing it
in a similar manner in which Dryden did for the Restoration [Link] first notable poetic
attempts are four Pastorals (1709), dedicated each to one season and beginning with spring,
which abound in visual imagery and descriptive passages of an ideally-ordered nature.
Jonathan Swift(1667-1745) is the greatest writer of the first half of the 18th [Link] was a
great humanist and a savagesatirist, taking the satire of such poets like Dryden and Pope to a
polemicalextreme, criticizing and mocking authority figures with an [Link]
wrote two satires on corruption in religion and learning: A Tale
of a Tub(1704) and The Battle of the Books(1704).
B. Compare and contrast two texts representative for the genre, one belonging
to the Restoration, the other to the Augustan age (open choice)
Absalom and Achitophel is a satirical [Link] is an allegory used to represent the story that was
contemporary to Drydenthat concerned King [Link] poem blends the heroic and the satiric,
distancingcontemporary events through the analogues found in the biblical story ofAbsalom’s
revolt against his father, David, the king of Israel. Othercontemporary figures are similarly
matched to their biblical counterparts,most notable being the association of the Whig earl of
Shaftesbury, theprincipal supporter of Monmouth’s claim, to Achitophel, Absalom’s chiefadviser
in the Bible. One of the most impressive features of the poemresides with Dryden’s skill in
rendering the fragility of the Restorationsettlement, while reasserting his faith in the king’s
ability to control thesituation. Among other things,this involves a tactical success in
thepresentation of the main characters. David is not offered as a simpleheroic character at the
start. Dryden is careful to mention the king’s faults,but finally transforms them into qualities,
related to principles of warmthand creativity.
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In the poem, Dryden took the names and situations from the Biblical story of the rebellion of
Absalom against his father David. Achitophel is the Earl of Shaftsbury and Absalom is the Duke
of Monmouth. The most remarkable thing about the satire is how the Biblical characters and
situations have been given contemporary significance. Another important contribution of Dryden
to satire is the remarkable use of heroic couplets. He used the end-stopped lines and he made
sentence structure conform to the metrical pattern.
The Rape of the Lock is a mock-heroic poem f great power. Here Pope satirises the trivial matter
of snipping a lock of hair from the head of Miss Arabella Fermor by Lord Petre in a grand heroic
[Link] imitates the maximum elements of epic poetry - its invocation, games, battle, journey
similes and descriptions and supernatural machinary sylphs and gnomes. The contrast between
the grand style and the silly matter produces the irony. The sylphs and gnomes give the delicacy
to the poem. Indeed, the satire is full of delicate fancy and humour. Here the imaginative fervour
of Pope is in evidence in his nature-descriptions.
The society darling Belinda wakes at noon and after elaborate toilet sails up the Thames to
Hampton Court. Belinda flirts with all the gentlemen aboard ship and plays the fashionable game
of ombre. As Belinda pours coffee, the baron from behind cuts off a lock of the hair. Belinda
cries and the ladies decide to take stem measures against the men. Tossing snuff at the Baron's
nose, Belinda causes him to sneeze. At the point of a hair pin he is ordered to return the lock.
The incidents or characters arebeautifully proportioned to the scale of the mock epic: the war
becomes inthe poem the drawing –room one between the sexes, the heroes andheroines are the
beaux and the belle of the day, supernatural charactersare present in the Sylphs (the souls of the
dead coquettes), the epicjourney to the underworld becomes a journeyundertaken to the Cave
ofSpleen.
The Rape of the Lock functions as a satire on the trivialities of fashionable life;a commentary on
the distorted moral values of polite society;an implicit indictment of human pride.
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IV. Restoration Drama: the heroic tragedy vs. the comedy-of manners.
A.
The Heroic Tragedy can be thought of as the comedy-of-manners' wish-fulfillment counterpart. The
concept is simple: at its heart is a hero, conceived as a superman, who is forced to choose between
satisfying his own emotional needs and dedicating himself to the public good. His actions are intended to
elicit wonder and admiration rather than pity or terror. The plays are written in rhyme, in keeping with
neo-classical standards, and frequently make use of the splendour and fascination of the spectacle.
Among the most notable playwrights who contributed to Restoration tragedy are: John Dryden,
with The Conquest of Granada and All For Love, Nathaniel Lee, with Nero, Sophonisba,
Gloriana, or The Rival Queens, and Thomas Otway, with The Orphan or Venice Preserv’d.
On the other hand,the comedyof manners is a form of dramatic comedy that depicts and often
satirizes the manners and affectations of contemporary [Link] main subject is sex: sexual
attraction, sexual intrigue, sexualconquest, with an acute interest in the relationships between
love andmoney, or love and [Link] subject of interest is related to the uses and abuses
of“affectation” (or socially determined behaviour).Its characters are obsessed with fashion,
gossip and their own circle in society.
B. Illustrate the differences between the two by comparing and contrasting two plays of
your own choice.
All For Love or the World Well Lost by John Dryden vs. The Way of the World by
William Congreve
All For Love is a heroic tragedy becausethe themes of the play are love and [Link] doomed
love story of Antony and Cleopatra dramatizes the conflict between an individual’s personal
desires and his or her public duties to the state, the community, and the greater good. This
dichotomy between what Dryden calls “love” and “honor” is a rich source of dramatic tension in
the [Link] the play All for Love, Antony wrestles with the conflict between his love for
Cleopatra and his duties to the Roman Empire.
The structure of the play like that of the heroics are curbed and the verbal hyperbole is under
check. Dryden adopts blank verse and seeks to imitate the elevated style of Shakespeare. In the
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play, Dryden wanted to adapt Shakespeare's Antony and Cleopatra to neo-classical rules:action
isconfined to the period following thebattle of Actium.
For being a successful tragedy, an unbeaten tragic hero is needed .Antony is a tragic hero who is
a person of noble birth with heroic or potentially heroic qualities. But he is fated to doom and
destruction.
In Cleopatra’s portrayal too Dryden displays the characteristics of the heroic play. She is model
perfection. Nowhere in the play, not even when she is banished, has she deviated from her
steadfast love for [Link] considers her love so sacred that even the pretence of love she
displays for Dollabella is done with great reluctance. Such a portrayal of heroine of perfection is
found only in heroic plays.
Ending with death is a most important feature of tragedy. All for Love ends withdeath of hero
and heroine fulfilling this convention of tragedy.
On the other hand,The Way of the World is a comedy of manners because it shows the manners
of the upper ranks of contemporary society. Itsatirically presents the aristocratic London society.
All the scenes in this play are laid in LadyWishfort’s house, a chocolate house and St.
James’Park,another feature of the comedy of [Link] intrigues occupy an important place
in the plot of comedy of manners.
It is the major theme of the play. The Way of the World follows this convention. The entire play
deals with the intrigues of Mirabell to gain the hand of Millamant. To achieve his aim, he
pretends to make love to Lady Wishfort, an aged lady. When he fails, he hatches a deeper plot.
At any cost Lady Wishfort wants to have a husband. Thus he gets her servant married to Lady
Wishfort’s maidservant.
The characters in the comedy of manners are of a set [Link] their names show their
[Link] find giddy girls, lustful women, deceived, jealous and impotent husbands.
Fops and ladies spend their time to conspire against their rivals in love. Here the charming
heroine marries the rake that shows signs of becoming [Link] The Way of the World we get
characters of this type. They belong to the upper strataof the society. Mirabell has had an affair
with a young widow. But he persuades her to marryFainall. After her marriage she has soft
corner for Mirabell. Fainall marries her only to gether property. Behind her he flirts with Mrs.
Marwood. Millamant loves Mirabell but she hassoft corner for Petulant and Witwoud. In spite of
her old age, Lady Wishfort wants to marrysome young man. She uses cosmetics to hide her
faded beauty and her wrinkles.
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[Link] Rise of the 18th -century English Novel and its Pioneers (Defoe,
Richardson, Fielding, Sterne)
A.
Daniel Defoe ( c. 1660 – 24 April 1731)[1] was an English
writer, merchant, journalist, pamphleteer, social critic, and spy. He is most famous for his
novel Robinson Crusoe, published in 1719, which is claimed to be second only to the Bible in its
number of translations. He has been seen as one of the earliest proponents of the English novel,
and helped to popularise the form in Britain with others such as Aphra Behn and Samuel
Richardson.
Samuel Richardson (1689-1761)was English novelist who expanded the dramatic possibilities
of the novel by his invention and use of the letter form (“epistolary novel”). He became a
novelist was due to his skill as a letter writer(at 51). His major novelswere Pamela, or Virtue
Rewarded (I, 1740; II, 1741)and Clarissa (1747–48).
Henry Fielding(1707 –1754) was an English novelist, irony writer and dramatist known for
earthy humour and satire. His comic novel Tom Jones is still widely appreciated. He and Samuel
Richardson are seen as founders of the traditional English [Link] addition to Tom Jones, Henry
Fielding has written other novels such as:Shamela (1741),Joseph Andrews (1742),Amelia (1751).
Laurence Sterne (1713-68) was Irish-born English novelist and humorist, authorof Tristram
Shandy (1759–67), an early novel in which story is subordinate to the free associations
and digressions of its narrator. He is also known for the novel A Sentimental Journey (1768).
B. Robinson Crusoe by Daniel Defoe vs. Pamela by Samuel Richardson
The story of Robinson Crusoe is based squarely on the account of a fugitive sailor, Alexander
Selkirk, who survived on an uninhabited island in the Pacific for five years. Defoe’s imaginative
reworking of Selkirk’s memoirs enjoys therefore a pronounced degree of realism. His Crusoe is a
mariner who takes to sea despite parental warnings and, after suffering a number of misfortunes
at the hands of Barbary pirates and the elements, is shipwrecked off South America, where,
according to his journal, is able to resist for some 28 years, two months and nineteen days. If, as
a psychological study in isolation, the novel seems now unconvincing, its strength comes from a
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combination of disparate echoes and shapes: Jonah, Job, Everyman, the Prodigal Son, the
colonial explorer and the proto-industrialist. The economic aspects of Defoe’s fiction have in
particular prompted the interest of recent criticism: Crusoe’s survival and his enterprising
behaviour are seen as expressions of Defoe’s own belief in the mercantilist mentality of the
expanding British Empire. Crusoe starts his journey as a trader, to make money and thus increase
his material comforts. Once shipwrecked on the island, his only thought is to remould in his
distant isolation the whole pattern of the material civilisation he has left behind. This is
supplemented by a sober, businesslike religion, with due gratitude for the God’s mercies and a
belief that God helps those who help themselves. The novel confirms for the reader the ultimate
rightness of Crusoe’s way of thinking and acting. It ends positively, going beyond Crusoe’s
rescue to show how the mariner’s investments make him rich, while the island becomes
colonised, ensuring thus the continuation of the model of society that Crusoe established there.
Pamela is a famous example of an epistolary novel, or a novel composed of [Link]
presents itself as the true account of thestory of a young but virtuous maid servant, whosehonour
is threatened by Mr. B., her new master, aman with every power imaginable. For a while,
sheeven becomes his hostage, and almost a victim ofrape, but eventually marries him out of love,
havingpreserved her virtue and impressed him with her
perseverance.
A theme present in the novel is the nature of [Link]’s novel has often given the
impression of defining “virtue” too narrowly and negatively, as the physical condition of
virginity before [Link] novel’s conception of virtue is actually more capacious than its
detractors have allowed, [Link] theme is the class [Link]’s class status is
ambiguous at the start of the novel. She is on good terms with the other Bedfordshire servants,
and the pleasure she takes in their respect for her shows that she does not consider herself above
them; her position as a lady’s maid, however, has led to her acquiring refinements of education
and manner that unfit her for the work of common servants: when she attempts to scour a plate,
her soft hand develops a [Link] theme is the integrity of the [Link]’s
fiction commonly portrays individuals struggling to balance incompatible demands on their
integrity: Pamela, for instance, must either compromise her own sense of right or offend her
Master, who deserves her obedience except insofar as he makes illicit demands on her.
Pamela consists almost entirely of letters, which means it's an epistolary [Link]
narrated in the [Link] Pamela's "voice" dominates the novel, its style is pretty
much hers. She is conversational and straightforward while describing the events that have
transpired, though she also infuses her tale with plenty of detail, emotion, and moral
[Link] of her most entertaining and vivid narration occurs when she is describing
someone she doesn't like—for example, Mrs. Jewkes.
In composing Pamela, Richardson wanted to explore human psychology in ways that no other
writer had. His innovative narrative method, in which Pamela records her thoughts as they occur
to her and soon after the events that have inspired them, he called “writing to the moment”.
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[Link] of novel writing in the Age of Sensibility
[Link] novels from this period are:
The sentimental novelrefers to any novel that exploits the reader's capacity for
tenderness, compassion, or sympathy for a disproportionate [Link] example of a
writer who wrote sentimental novels is Oliver Goldsmith, and his novel is called The
Vicar of Wakefield.
The Gothic novelappealed to the readers’appetite for the sensational and their desirefor
emotional thrills (translation of theSublime)though a prevailing atmosphere of mystery
and terror. An example of a writer who wrote gothic novel is Horace Walpole,and his
novel is called The Castle of Otranto.
The regional novelis a genre of fiction that is set in a recognisable [Link]
characteristics of this type of novel are: the detailed description of a place, a setting or a
region, be it urban or rural,which bears an approximation of a real place, characters
usually of lower- or middle-class origin, attempted [Link] example of a writer
who wroteregional novel is Maria Edgeworth,and her novel is called Castle Rackrent.
The domestic novel is the typeof novel asssociated with the rise of female authorship
and a female literary readership during the last decades of the 18th and throughout the
19th [Link] and exemplary, it centered in the “woman's sphere” and focused on
the concerns of women's lives. An example of a writer who wrote domestic novel is Jane
Austen, and her novel is called Pride and Prejudice.
[Link] Vicar of Wakefield by Oliver Goldsmith [Link] Castle of Otranto by Horace
Walpole
Considered an exemplary sentimental novel,The Vicar of Wakefieldhas a complicated plot
that follows the misfortunes of the Primrose family.
Thenovel is an improbable fairy-tale about Dr. Primrose (the vicar of the title
and a person who combines learning with innocence, finding his greatesthappiness by the
domestic hearth with his wife and children) who is led bythe activities of the wordly and the
vicious, as well as a number ofaccidents, from one misfortune to another: his fortune is lost,
his elderdaughter is apparently seduced and ‘ruined’ by the local squire; himself is
cheated and deceived in numerous ways until he finds himself in the localjail; his eldest son
becomes a fellow prisoner, accused of severely injuringa man in a duel. Nevertheless, to all
these the vicar responds with gentleresignation and fortitude, and, by implausible
contrivance, the novel isfinally huddled to a happy ending, where the lost fortune is restored,
the‘ruined’ daughter is discovered alive and married to her seducer, the son is
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freed and able thus to marry his first love.
One of the themes present in the novel is insistence upon the necessity of an equilibrium
between reason-connoting prudence and temperance-and passion. Primrose often
recommends the use of [Link] his new home the Vicar observes that his family ignores his
"painful lectures" on the tempering of their ambition, Later he and his wife send Moses to
sell the colt, because they believe he possesses [Link] struggle between pride and
humility is another prominent theme in the novel,all family membersbeing at one time or
another affected by [Link] exemple,The Vicar is proud of his daughters'beauty and of his
ability as a [Link] theme is social [Link] the vicar’s outward support of
poverty, the Primrose family cannot accept having lost its upper-middle-class [Link]
proves an interesting theme because of how closely the novel adheres to the traditional
gender norms of 18th-century British [Link] men make the decisions and hold the
power; the vicar is the unequivocal patriarch who determines the conduct of his family
members.
The novelist has adopted the direct method of narration through the principal character, the
plot is coherent and well-knit, and the story is gripping in its interest. The only fault that can
be found with its plot is the way in which the final resolution has been hastily huddled up at
the close.
The novel is also unsurpassable in description and dialogue. Natural scenes and sights have
been described with great feeling. The style is remarkable for its simplicity, grace and
loveliness, and the dialogue is witty, dramatic, and to the point.
The Castle of Otrantois a story of medieval times, set in south Italy, with castles,vaults,
ghosts, statues which come to life, sudden violent death, forestcaves, and the whole
paraphernalia of horror. Passion, grief and terror arethe mainstrays of the plot, which moves
between the unlikely and thetotally incredible. Manfred, the actual prince of Otranto, is in
fact theoffspring of a usurper who had poisoned the rightful heir, Alonso. Hauntedby the
prophecy foretelling the end of his male line and the return of therightful heir, Manfred
engineers the marriage of Conrad, his son, to thebeautiful Isabella and then attempts to
enforce himself on the maiden oncehis son gets mysteriously killed. But his plans are
thwarted by a peasantboy, Theodore, who helps Isabella escape and who, at the end of
thenovel, is proclaimed the true price of Otranto by a suddenly enlivenedstatue of Alonso,
which grows enormous and overthrows the castle burringa terrified Manfred withit.
As a Gothic text, The Castle of Otranto provides various tropes through which terror and
disgust are expounded [Link] defines the Gothic villain perfectly: he is a powerful
male figure who allows his sinful passions and evil nature to obscure the reason and
goodness he [Link] theme in the novel is the curse when revealed that in the
family of Manfred,every eligible heir to the throne dies ever before getting there,for example
[Link] theme is the supernatural threat that manifests when a giant appears on the
castle wall and disappears [Link] is the central theme centres on Manfred as
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the lord who wants his son to inherit his throne. To accomplish this, he plans to marry
Isabella for him, but unfortunately Conrad dies at the age of 15.
One of the greatest narrative techniques used in the castle of Otranto is irony. On the 15th
birthday anniversary of Conrad, the only son of Manfred and heir to Otranto, a wedding is
arranged between Conrad and the daughter of Frederic, Marquis of [Link] was to be a
happy day in the castle of Otranto but the atmosphere was full of gloom as a result of the
death of [Link] narrative techniques are suspense and divine intervention.
The Castle of Otranto is narrated by a third-person omniscient narrator.
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