The Catholic other in Horace Walpole and Charles Maturin
in European Gothic
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Portraying a continent disfigured by the Inquisition, Jesuitical conspiracy, and mob violence, Charles Maturin's most famous novel has often been taken as the high-water mark of Gothic anti-Catholicism and Europhobia. Turning to Horace Walpole's The Castle of Otranto, the prototype of Gothic romance, is the quickest way of taking one's generic bearings when discussing early Gothic. The tendency of the Shakespearian romance plot to come unstuck in the Gothic is attributable to the cultural ambivalence generated by the Glorious Revolution. The settlement that followed left Englishmen imaginatively suspended between Divine Right and the ancient constitution, or monarchy and abstract rights. The representation of the European other in early Gothic, is not part of a single binary of Protestant/Catholic, Briton/European, but a complex fabric 'haunted' by the issue of legitimacy inevitably provoked by the task of forging nations.

European Gothic

A spirited exchange 1760-1960

Editor: Avril Horner


All Time Past Year Past 30 Days
Abstract Views 167 54 8
Full Text Views 51 2 0
PDF Downloads 18 0 0