favour of his adopted work More impartial readers may not be so much struck with the beauties of this piece as I was. Yet I am not blind to my author's defects. I could wish he had grounded his plan on a more useful moral than this; that "the sins of the fathers are visited on their children to the third and fourth generation." I doubt whether, in his time, any more than at present, ambition curbed its appetite of dominion from the dread of so remote a punishment. And yet this moral is weakened by that less direct insinuation, that even such anathema may be diverted by devotion to St. Nicholas. Here the interest of the monk plainly gets the better of the judgment of the author. However, with all its faults, I have no doubt but the English reader will be pleased with a sight of this performance. The piety that reigns throughout, the lessons of virtue that are inculcated, and the rigid purity of the sentiments, exempt this work from the censure to which romances are but too liable. Should it meet with the success I hope for, I may be encouraged to reprint the original Italian, though it will tend to depreciate my own labour. Our language falls far short of the charms of the Italian, both for variety and harmony. The latter is peculiarly excellent for simple narrative. It is difficult in English to relate, without falling too low or rising too high; a fault obviously occasioned by the little care taken to speak pure language in common conversation. Every Italian

or Frenchman of any rank piques himself on speaking his own tongue correctly and with choice. I cannot flatter myself with having done justice to my author in this respect. His style is as elegant as his conduct of the passions is masterly. It is pity that he did not apply his talents to what they were evidently proper for,-the theatre.

I will detain the reader no longer but to make one short remark.-Though the machinery is invention, and the names of the actors imaginary, I cannot but believe that the groundwork of the story is founded on truth. The scene is undoubtedly laid in some real castle. The author seems frequently, without design, to describe particular parts. "The chamber," says he, "on the right hand; the door on the left hand; the distance from the chapel to Conrad's apartment." These and other passages are strong presumptions that the author had some certain building in his eye. Curious persons, who have leisure to employ in such researches, may possibly discover in the Italian writers the foundation on which our author has built. If a catastrophe, at all resembling that which he describes, is believed to have given rise to this work, it will contribute to interest the reader, and will make The Castle of Otranto a still more moving story.

PREFACE TO THE SECOND EDITION.

THE favourable manner in which this little piece has been received by the public, calls upon the author to explain the grounds on which he composed it. But before he opens those motives, it is fit that he should ask pardon of his readers for having offered his work to them under the borrowed personage of a translator. As diffidence of his own abilities, and the novelty of the attempt, were the sole inducements to assume that disguise, he flatters himself he shall appear excusable. He resigned his performance to the impartial judgment of the public; determined to let it perish in obscurity, if disapproved; nor meaning to avow such a trifle, unless better judges should pronounce that he might own it without a blush.

It was an attempt to blend the two kinds of Romance, the ancient and the modern. In the former, all was imagination and improbability: in the latter, nature is always intended to be, and sometimes has been, copied with success. Invention has not been wanting; but the great resources of

fancy have been dammed up, by a strict adherence to common life. But if in the latter species Nature has cramped imagination, she did but take her revenge, having been totally excluded from old Romances. The actions, sentiments, conversations, of the heroes and heroines of ancient days, were as unnatural as the machines employed to put them in motion.

The author of the following pages thought it possible to reconcile the two kinds. Desirous of leaving the powers of fancy at liberty to expatiate through the boundless realms of invention, and thence of creating more interesting situations, he wished to conduct the mortal agents in his drama according to the rules of probability; in short, to make them think, speak, and act, as it might be supposed mere men and women would do in extraordinary positions. He had observed, that in all inspired writings, the personages under the dispensation of miracles, and witnesses to the most stupendous phenomena, never lose sight of their human character; whereas, in the productions of romantic story, an improbable event never fails to be attended by an absurd dialogue. The actors seem to lose their senses the moment the laws of nature have lost their tone. As the public have applauded the attempt, the author must not say he was entirely unequal to the task he had undertaken: yet if the new route he has struck out shall have paved a road for men of brighter talents,