Before the death of Walpole's novel had already been published in several European countries, like France, Holland, Germany and Italy. One of the reasons for this diffusion is due to its foundational character and the novel that met the demands of a generous taste and an aesthetic that was developing throughout the eighteenth century, an era of refinement in the arts as in criticism, whose end is marked by a fascination with terror.
In this century of the lights had been subjected to criticism through out a worldview born of Greek philosophy and religion of the Christians, who eventually causing their sinking and losing the appearance of the miraculous, association and belief in the¨ miracle , visions, necromancy, dreams and other supernatural events are now discredited even in the novels ¨
Therefore the intention of restoring the Walpole was wonderful and supernatural fiction, once banished from the realm of reality, in order to stimulate the reader's sensitivity. Conforms well in the practice of literature, through the introduction of the supernatural, the requirements for a work of art in an aesthetic - initiated by the AbbéDu Bos - for the purpose of art is increasingly strong emotions, only way to cure the boredom - the romantics would call ¨le mal du siecle¨- the illustrators who had succumbed after they have exercised with such fervor as thorough critique, which had to be revealed the emptiness of the world - I Fell Into nothingness was saying by Mne du Deffand a correspondent of Walpole.
The novel was published as a translation from Italian because of fear of ridicule of the author, who justifies the composition of such a work in two prefaces, based on an aesthetic of the sublime rather widespread among the educated men of the time andthat would continue in the next century. Illustrated were the major source of the sublime in the artistic representation of teror. So, with his devastating critique ofreality, men of light formed at the same time a theory of fiction where the apparent pnecessary to complement representation, created by man, the reality with the ability toreturn a lost stimulation.
From the bottom of his boundless imagination stands the composition of Walpole against a prosaic world devoid of passion, dominated by cold reason, and against (time that otherwise could not stand the cold than common sense) - I have unleashedmy imagination - continued Walpole in a letter to Mme du Deffand - until I swell with visions and feelings involved. I've made in defiance of the rules, critics and philosophers, and political that very reason I feel even better. The work was also born as an expression of unconsciousness, sleep, and not the reason, almost automatic way, as written, on this occasion, William Cole, where he tells - I woke up one morning in early June of last , a dream, of which all I could remember was that I imagined myself in an ancient castle (a very natural dream for a head full of stories like mine gothic) and the top rail of a staircase withi a gigantic hand in armor. In the evening I sat down and began to write, without knowing the slightest degree what I wanted to say or tell. The work grew on my hands and make love - add that he was very happy to think of anything but politics - Soon he was so engrossed in my tale Gothic, which I concluded in less than twomonths, one evening I wrote from the time you take tea, about six o'clock until half past one, when my hand and my fingers were so exhausted that he could not keepthe pen to finish the sentence.
Indeed, as emerged from a dream, are the dramatic characters at the beginning of the narrative, intended to develop in a relentless, the consummation of their assigned role in the vision of the author: Manfred, severe, tyrannical and cruel Hippolita, bonochanawoman, Conrad, sickly boy, bleak, beautiful and sweet and Matilda. All have their part in a story that plunges into disaster sorbenaturales announced multiple events, like agiant helmet falls off, a picture speaks a huge figure, drops of blood shed by a statue.Sometimes the perception of these events by the characters is ambiguous, asconcerns remain about its nature and origin, that is, born of the impression of an external object or a mere product of fantasy, but all are sorted - as symbols of ahidden will and relentless - to consummate the great catastrophe that befell thetyrannical prince. This situation contributes to all the characters in this engulfed in uncertainty and look in constant threat, his conduct being dispossessed of reason andleft to the darkest and intense emotions.