Walpole's “The Castle of Otranto” reveals an 18th Century insight to the stereotype of females being inferior to men within English society. Confined to the constructs of societal expectations, women were limited to fulfilling the roles of wife and mother; females were quick to be seen as less capable, and helpless. Keeping in mind that the feminist movement only began during the nineteenth century, it is reasonable to observe these assumptions. Hippolita, Bianca, Matilda, and Isabella, the female characters in the novel, illustrate this outlook through action and disposition. Walpole's characters directly reflect the general attitudes of English society towards women as the weaker sex; it should be noted that instances do exist in which females contradict the patriarchal authority.
Manfred's wife, Hippolita, exemplifies the overpowering belief of man's superiority and woman's inferiority. Acknowledged as the ideal wife, nothing is expected of her but loyalty, obedience, submission, and subordination. For instance, when presented with Manfred's decision to divorce, even at the cause of her own happiness, she confesses “she would not oppose the separation” (Walpole 91). Manfred expects no less of her, presuming “she would not only acquiesce with patience to a divorce, but would obey, if it was his pleasure, in endeavouring to persuade Isabella to give him her hand” (Walpole 44). Willingly acknowledging the conventional guidelines of society to which she has been entreated to conform, Hippolita goes to no end to please her husband, putting his needs and welfare before her own. Trapped under the expectations of the social order, women were expected to comply with the wishes and whims of their husbands, attaining little sense of identity or autonomy. Unable to fulfill her duties of providing an heir, Hippolita's sterility strongly diminishes her sense of being; if not a mother, she is left with only the role of wife to flesh out.
Manfred's daughter, Matilda, embodies the innocent character of the beautiful, virtuous virgin. Undertaking her own responsibilities of the “dutiful daughter” (Walpole 86), she obediently caters to Manfred's demands and requests, while bearing his indifferences. The concept of being seen and not heard unless called upon, would suitably apply to Matilda's supposed duties; women served little purpose to men other than to marry and bear children. Individual actions were not taken, should they impede upon and oppose the pleasure and peace of mind of the female's father or husband. In addition, Matilda strengthens the stereotype alluding to women as weak and unable to handle stressful situations, by fainting upon receiving news of Theodore's execution. Unexpectedly and uncharacteristically, Matilda opposes Manfred by objecting to the idea of his divorce and by releasing Theodore from imprisonment; on account of these atypical instances, she momentarily steps away from abnegation of self decision and identity.
Matilda's damsel, Bianca, encourages the typecast of the unmindful, frightened, fretting female. Upon discussing the idea of marriage prospects with Matilda, she points out that “…a bad husband is better than no husband at all,” sharing society's general consensus that in order to survive, women need men (Walpole, 46). Yet again, Walpole reinforces the overly emphasized idea of the female's reliance and dependence on the male and the inability to survive on her own. Bianca inhabits neither the role of daughter nor wife, but still find herself under the bidding of Manfred, as his servant; the creation of her persona can only be to support the already distinct picture of the inferior woman lacking authority and power. Further illustrating the weakness in women, Walpole forces Bianca to leave the castle after being markedly terrified by the general accounts of the supernatural.
Marquis of Vincenza's daughter, Isabella, is helplessly contracted into a marriage agreement with Manfred's son. Treated more like an economic transaction and less as a human being, her life is never really in her own control; like Matilda, Isabella respectfully adheres to her father's decisions with neither defiance nor judgment. This unquestioning acceptance of the way things should be is the core of female deference and passivity. Interestingly enough, even though Isabella is the victim of her father's insensitive barter, she seems to be the only individual who does anything about the uncomfortable predicament that befalls her. Although escape is perpetuated by the threat and fear of Manfred's pursuance, Isabella nonetheless saves herself from her own foreboding future. Her active efforts to flee set her apart from the females who cannot take care of themselves.
By creating simple characters with limited substance and depth, Walpole presents a relatively straightforward and general opinion regarding the inferiority and submissive qualities of women. Furthermore, as noted, certain individuals in every society tend to exist and conflict with conventional ideas and social norms of the time; with regards to
Walpole and the portrayal of women, individuals undeniably existed who contradict certain "set" gender roles and the social order. However, the majority of women existing in English society during the 18th Century, seem to be shown as helpless victims in need of rescue. Walpole successfully depicts his characters to reflect this general view of women using his female characters, Hippolita, Bianca, Matilda, and Isabella to illustrate lack of privilege, decision, independence, and sense of identity.
