Northanger Abbey- A novel by a lady
BiographyIn the 18th century, the worth of a woman’s life was measured by her fortune, her birth and her capacity to satisfy the criteria of a good wife. In fact, a favourable marriage was seen as an absolute necessity for facilitating a happy and productive life for a young woman. Jane Austen was born into the midst of this society on the 16th of December, 1775. Though her family was of small fortune, a great emphasis was placed upon learning by both of her parents, and so Austen and her siblings were widely exposed to the joys of reading and writing from a very early age. Both she and her sister were sent to Oxford in 1783 for a more classical education but returned prematurely due to the financial strain school placed upon the family.
Thenceforth, Austen remained at home, her adolescent writings revealing the gradual development of her trademark satire and often cynical view of social conventions, especially those surrounding love and marriage. In 1801, Austen’s family moved to Bath, by which time she was in different stages of writing what would later become Sense and sensibility, Pride and prejudice and Northanger Abbey. She sent Northanger Abbey, then called Susan, to a publisher in 1803 but it was never released during her lifetime. Unfortunately, in 1805, tragedy struck her family when her father died, leaving her and her female family members completely dependent upon her brothers for support as a consequence of the system of primogeniture. Austen’s experience of this system is evident within her later novels, such as Sense and Sensibility (1811) and Pride and Prejudice (1813), which were published anonymously to moderate success during her life time. After a long, progressive illness during which time Austen continued to write, she died in July 1817 at the age of 41. She had never married. Her novel, Northanger Abbey, was re-bought by her brother and published posthumously with a note that revealed Austen as the author of all of her previous works. It was not until several years after her death that Austen’s work became prominent in public appreciation, and since then, her following of devoted readers has grown exponentially. Today, she is considered one of the most renowned and widely acclaimed female authors who have ever lived. |
Summary of plot
Northanger Abbey is the tale of Catherine, a young, imaginative and incredibly naive girl from a modest family living in Fullerton in the English country-side. The novel is, from the very beginning, a humorous satire criticising the melodramatic and fanciful conventions of the popular Gothic novels of the day. Early in the novel, Catherine’s personality is laid bare to the reader, revealing a sweet yet ignorant nature and a love of Gothicism bordering on monomania. In fact, Catherine’s Gothic imagination is so wild, that when her well-to-do and fairly materialistic neighbours Mr and Mrs Allen offer to take her to Bath, the social hub of the day, she leaps at the chance to prove herself a heroine in her own thrilling adventure. However, once in the grand Upper-rooms of Bath, Catherine is repeatedly exposed to the real horrors of her society: the constant struggle for wealth and status that drives many to take advantage of her good and ignorant nature. Meanwhile, her constant preoccupation with ‘Gothic villains’ blinds her to the falsities of her friends and prevents her from forging a real connection with the genuine and honourable Henry Tilney and his sister, Eleanor. However, in the latter half of the novel, Catherine is entreated to spend time with Henry and Eleanor at their home, Northanger Abbey, which Catherine imagines to be a setting from one of her novels. Here, Catherine is in the constant company of their father and the fearsome embodiment of the Gothic villain, General Tilney, whose politeness fails to supress the feeling of uncertainty and repulsion Catherine feels towards him. Her over-active imagination immediately assumes that he must have murdered his wife, a suspicion that ultimately humbles her into reason as Henry scolds her for the macabre nature of her imaginings. In the midst of her embarrassment and estrangement from her love-interest, Catherine is roused from sleep and forced to leave Northanger Abbey in the middle of the night. As it turns out, Catherine’s trepidation around General Tilney was legitimate, except for that his villainy stemmed from his belief in her vast fortune and desire to claim it through marriage with his son. Upon discovering her humble origins, he casts her out, thus embodying the true evil of the age: an obsession with the acquisition of wealth. However, Catherine manages to overcome this enormous challenge with ease, navigating her way safely to Fullerton without aid. Here, Henry follows her with apologies, having learned of his father’s cruelty after the fact, and proclaims his love for her and his desire to marry her. Catherine accepts and the two are married, despite the disapproval of General Tilney, and the novel closes on an optimistic note.
CHaracters
Catherine Morland- The protagonist, a sweet natured but exceedingly simple-minded 17-year-old who is taken to Bath by Mr and Mrs Allen where she entertains hopes of meeting the ‘hero’ of the gothic novel that constantly seems to be unfolding in her mind.
Henry Tilney- The love-interest, Henry is a 25-year-old clergyman from the wealthy Tilney family who is one of the first acquaintances Catherine makes whilst in Bath. He is clearly well educated, witty and a reasonable man who often seems to act as Austen’s voice within the book as he points out the ridiculousness of certain social conventions. He seems to take it upon himself to guide Catherine towards reason, initially it seems without any sense of romantic interest in her, but gradually comes to realise the depth of his affection.
Isabella Thorpe- the eldest daughter of Mrs Thorpe and initially the close confidante of Catherine. Isabella fuels Catherine’s love for Gothic novels and also her passion for Henry, as she herself is utterly obsessed with men and marriage. Her materialism and self-absorption are also very prominent traits that contrast with Catherine’s humble generosity. During the novel, Isabella comes to be engaged to Catherine’s brother, James Morland, whom she clearly thinks will inherit a great fortune. When she discovers the modesty of his wealth, she breaks off the marriage and elopes with Captain Frederick Tilney, a betrayal that is sorely felt by Catherine. Ultimately however, Frederick leaves Isabella with nothing more than a shattered reputation.
Eleanor Tilney- the sister of Henry and the diametric opposite of Isabella. Eleanor embodies virtue and poise, as well as a genuine sense of right and wrong. For all intents and purposes, she is the closest to a Gothic heroine in the book, as revealed by her treatment at the hands of her father. She comes to be Catherine’s closest and most genuine friend, and expresses deep regret at her expulsion from the Abbey. Ultimately, Eleanor attains her happy ending as she marries the love of her life.
John Thorpe- the insufferable brother of Isabella who manages to equal her in feats of selfishness and unpleasantness. Thorpe is prone to lying and boasting ceaselessly of his attributes, which he tends to exaggerate anyway, rendering him thoroughly dislikeable to the responder. In fact, it is his lying that deceives General Tilney into believing that Catherine is of fortune in the first place. At one point, John Thorpe attempts to propose to a bewildered Catherine, whose naivety prevents her from fully understanding his meaning, but is eventually passed-over for Henry.
Mr and Mrs Allen- Mr Allen plays a minimal role in the novel, but Mrs Allen represents everything that is superficial and idiotic about 18th century society. Her air-headedness rivals Catherine’s, and her conversation rarely strays from muslin or gowns or various acquaintances. She is generally provided as comic relief from Catherine’s experiences with the deceptive Thorpes and embodies none of the maturity typically associated with adults.
Mrs Thorpe- the mother of Isabella and John, and a minor character who lies within the realm of Mrs Allen, as they manage to hold conversations whilst both talking on entirely different subjects.
Mr and Mrs Morland- the parents of Catherine play a minimal role, other than to initially highlight the preposterous nature of her expectations in relation to the upbringing of a Gothic heroine.
General Tilney- the true villain of the novel, the General is the paragon of rapacity. His desire to obtain Catherine’s fortune via a convenient marriage with his son, Henry, drives him to invite her to his house, Northanger Abbey. When he finds out about the modesty of her fortune, he expels her from the house into the night. However, he eventually receives his due, as when Henry learns of his cruelty, he marries Catherine in spite of the General.
Captain Frederick Tilney- the older brother of Henry and the son of the General, Frederick is a soldier and a shameless seducer. It is he who ultimately convinces Isabella to leave James and elope with promises of marriage. However, he soon leaves Isabella, and it is implied that this is not his first indiscretion with unavailable women.
James Morland- the brother of Catherine, James is a close friend of John Thorpe and becomes the fiancée of Isabella, who ultimately leaves due to the insufficiency of his fortune. He serves little other purpose, except to occasionally peer pressure Catherine into entering into social engagements with the Thorpes.
Henry Tilney- The love-interest, Henry is a 25-year-old clergyman from the wealthy Tilney family who is one of the first acquaintances Catherine makes whilst in Bath. He is clearly well educated, witty and a reasonable man who often seems to act as Austen’s voice within the book as he points out the ridiculousness of certain social conventions. He seems to take it upon himself to guide Catherine towards reason, initially it seems without any sense of romantic interest in her, but gradually comes to realise the depth of his affection.
Isabella Thorpe- the eldest daughter of Mrs Thorpe and initially the close confidante of Catherine. Isabella fuels Catherine’s love for Gothic novels and also her passion for Henry, as she herself is utterly obsessed with men and marriage. Her materialism and self-absorption are also very prominent traits that contrast with Catherine’s humble generosity. During the novel, Isabella comes to be engaged to Catherine’s brother, James Morland, whom she clearly thinks will inherit a great fortune. When she discovers the modesty of his wealth, she breaks off the marriage and elopes with Captain Frederick Tilney, a betrayal that is sorely felt by Catherine. Ultimately however, Frederick leaves Isabella with nothing more than a shattered reputation.
Eleanor Tilney- the sister of Henry and the diametric opposite of Isabella. Eleanor embodies virtue and poise, as well as a genuine sense of right and wrong. For all intents and purposes, she is the closest to a Gothic heroine in the book, as revealed by her treatment at the hands of her father. She comes to be Catherine’s closest and most genuine friend, and expresses deep regret at her expulsion from the Abbey. Ultimately, Eleanor attains her happy ending as she marries the love of her life.
John Thorpe- the insufferable brother of Isabella who manages to equal her in feats of selfishness and unpleasantness. Thorpe is prone to lying and boasting ceaselessly of his attributes, which he tends to exaggerate anyway, rendering him thoroughly dislikeable to the responder. In fact, it is his lying that deceives General Tilney into believing that Catherine is of fortune in the first place. At one point, John Thorpe attempts to propose to a bewildered Catherine, whose naivety prevents her from fully understanding his meaning, but is eventually passed-over for Henry.
Mr and Mrs Allen- Mr Allen plays a minimal role in the novel, but Mrs Allen represents everything that is superficial and idiotic about 18th century society. Her air-headedness rivals Catherine’s, and her conversation rarely strays from muslin or gowns or various acquaintances. She is generally provided as comic relief from Catherine’s experiences with the deceptive Thorpes and embodies none of the maturity typically associated with adults.
Mrs Thorpe- the mother of Isabella and John, and a minor character who lies within the realm of Mrs Allen, as they manage to hold conversations whilst both talking on entirely different subjects.
Mr and Mrs Morland- the parents of Catherine play a minimal role, other than to initially highlight the preposterous nature of her expectations in relation to the upbringing of a Gothic heroine.
General Tilney- the true villain of the novel, the General is the paragon of rapacity. His desire to obtain Catherine’s fortune via a convenient marriage with his son, Henry, drives him to invite her to his house, Northanger Abbey. When he finds out about the modesty of her fortune, he expels her from the house into the night. However, he eventually receives his due, as when Henry learns of his cruelty, he marries Catherine in spite of the General.
Captain Frederick Tilney- the older brother of Henry and the son of the General, Frederick is a soldier and a shameless seducer. It is he who ultimately convinces Isabella to leave James and elope with promises of marriage. However, he soon leaves Isabella, and it is implied that this is not his first indiscretion with unavailable women.
James Morland- the brother of Catherine, James is a close friend of John Thorpe and becomes the fiancée of Isabella, who ultimately leaves due to the insufficiency of his fortune. He serves little other purpose, except to occasionally peer pressure Catherine into entering into social engagements with the Thorpes.
main themes
The Gothic imagination: Northanger Abbey is, first and foremost, a satire. Its infectious humour and uncannily accurate observations about the irrationality of Gothic plots are apparent from the very beginning, revealing by contrast the very real nature of Austen’s own characters within the novel. For example, by contrasting Catherine’s unremarkable appearance with the standard unearthly beauty of the Gothic heroines she aspires to be like, Austen cleverly highlights how unrealistic the expectations and scenarios created by Gothic novelists are. She even goes so far as to highlight the potentially disastrous effects of fuelling one's imagination with fantastical expectations, as seen in Catherine’s false accusations against the general. Though this is in some senses at odds with the traditional Romantic veneration of imagination, it is also a powerful statement as it suggests that the real problems of the world cannot be solved through escape. This she conveys powerfully through Henry’s reprimand of Catherine’s macabre suspicions- “consider the dreadful nature of the suspicions you have entertained. What have you been judging from? Remember the country and the age in which we live.”
Defence of the Novel Form: despite her criticisms of Gothicism, Austen is still wildly defensive of her form. Through repeated authorial interruptions, she continuously breaks the fourth wall to remind the reader that they are reading a novel that is a reflection of real life. She even uses characters, namely the voice of reason within the book, Henry Tilney, to vent her dissatisfaction with the public perception of books as being lesser forms of literature- “the person, be it gentlemen or lady, who has not pleasure in a good novel must be intolerably stupid.” This avid belief in the capacity of her form to be an honest reflection of the passions, the follies and the real grievances of mankind is incredibly Romantic; she is literally assigning art the power to articulate what it is to be human, saying that books contain “the most thorough knowledge of human nature.”
The Role of Women: a large part of her accounting for the ‘real’ experiences of people in the 18th century is shamelessly exposing the grievances found within the lives of women at the time. Much of this is centred in her portrayal of the female desperation to find a husband due to the position of women being financially and socially dependent upon men. Austen’s satire very much highlights the ridiculousness of this, as women seek to be independent through marriage. The female position, Austen says, is discordant with autonomy in this system, as is exemplified by the character Isabella, whose hypocrisy is apparent to the responder- “to shew the independence of Miss Isabella… they set off… in pursuit of the two young men.” This also blatantly expresses Austen’s valuing of individualism, a typically Romantic convention.
Deception and Money: Austen attributes much of this female dependence upon men to the system of primogeniture, which is explored in many of her novels. As in Pride and Prejudice, where Mrs Bennett races to provide her daughters with husbands for fear of her own dying and leaving the family destitute, the desperation to find a husband within Northanger Abbey boils down to the male dominated system of inheritance. Just as Austen herself experienced, if a woman’s father died before she was married, she would be left entirely financially dependent on the male next of kin. This is evident with Isabella, whose desperation causes her to lie and deceive in an attempt to secure a wealthy husband. It is also evident within the patriarchal General Tilney whose complete focus upon acquisition ultimately sees him cast Catherine out into the night, completely alone. Austen therefore highlights the cruelty of this economic mindset, and engages the support of the responder through the delightful poetic irony in Catherine marrying Henry despite being poor.
Idealised Love: Even so, Catherine has had to step into marriage in order to find autonomy. Although she was able to navigate her expulsion from the abbey with a calm and admirable independence that contrasts remarkably with her initial naivety, Catherine still must accept a life of domesticity. This highlights that Austen is a realist; she knows, from experience, how hard the life of a spinster in the 18th century is. For most women, it simply isn’t an option. So instead, Austen suggests the freedom and autonomy of women within marriage through love. Idealised love is utilised throughout Romantic artistry to represent the freedom of human emotion and passion; especially within the works of the second generation Romantics, mortal love came even to rival the veneration that had previously been reserved for God, as is exemplified by the love between Catherine and Heathcliff in Wuthering Heights. For Austen, idealised love represents the one opportunity that a woman has of achieving anything even close to independence and emotional security within domestic life. As such, by the end of the novel, the responder is left in no doubt that Austen supports “filial disobedience,” or the harbouring of passion in spite of one’s society.
Defence of the Novel Form: despite her criticisms of Gothicism, Austen is still wildly defensive of her form. Through repeated authorial interruptions, she continuously breaks the fourth wall to remind the reader that they are reading a novel that is a reflection of real life. She even uses characters, namely the voice of reason within the book, Henry Tilney, to vent her dissatisfaction with the public perception of books as being lesser forms of literature- “the person, be it gentlemen or lady, who has not pleasure in a good novel must be intolerably stupid.” This avid belief in the capacity of her form to be an honest reflection of the passions, the follies and the real grievances of mankind is incredibly Romantic; she is literally assigning art the power to articulate what it is to be human, saying that books contain “the most thorough knowledge of human nature.”
The Role of Women: a large part of her accounting for the ‘real’ experiences of people in the 18th century is shamelessly exposing the grievances found within the lives of women at the time. Much of this is centred in her portrayal of the female desperation to find a husband due to the position of women being financially and socially dependent upon men. Austen’s satire very much highlights the ridiculousness of this, as women seek to be independent through marriage. The female position, Austen says, is discordant with autonomy in this system, as is exemplified by the character Isabella, whose hypocrisy is apparent to the responder- “to shew the independence of Miss Isabella… they set off… in pursuit of the two young men.” This also blatantly expresses Austen’s valuing of individualism, a typically Romantic convention.
Deception and Money: Austen attributes much of this female dependence upon men to the system of primogeniture, which is explored in many of her novels. As in Pride and Prejudice, where Mrs Bennett races to provide her daughters with husbands for fear of her own dying and leaving the family destitute, the desperation to find a husband within Northanger Abbey boils down to the male dominated system of inheritance. Just as Austen herself experienced, if a woman’s father died before she was married, she would be left entirely financially dependent on the male next of kin. This is evident with Isabella, whose desperation causes her to lie and deceive in an attempt to secure a wealthy husband. It is also evident within the patriarchal General Tilney whose complete focus upon acquisition ultimately sees him cast Catherine out into the night, completely alone. Austen therefore highlights the cruelty of this economic mindset, and engages the support of the responder through the delightful poetic irony in Catherine marrying Henry despite being poor.
Idealised Love: Even so, Catherine has had to step into marriage in order to find autonomy. Although she was able to navigate her expulsion from the abbey with a calm and admirable independence that contrasts remarkably with her initial naivety, Catherine still must accept a life of domesticity. This highlights that Austen is a realist; she knows, from experience, how hard the life of a spinster in the 18th century is. For most women, it simply isn’t an option. So instead, Austen suggests the freedom and autonomy of women within marriage through love. Idealised love is utilised throughout Romantic artistry to represent the freedom of human emotion and passion; especially within the works of the second generation Romantics, mortal love came even to rival the veneration that had previously been reserved for God, as is exemplified by the love between Catherine and Heathcliff in Wuthering Heights. For Austen, idealised love represents the one opportunity that a woman has of achieving anything even close to independence and emotional security within domestic life. As such, by the end of the novel, the responder is left in no doubt that Austen supports “filial disobedience,” or the harbouring of passion in spite of one’s society.