‘According to 19th-century critic William Hazlitt, The Castle of Otranto ‘is, to my notion, dry, meagre and without effect… The great hand and arm which are thrust into the court- yard and remain there all day long, are the pasteboard machinery of a pantomime; they shock the senses but have no purchase upon the imagination.’ Consider the validity of this critique of the novel’s effects upon the reader—and also how you might defend it from this line of attack.’
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