In addition to its parodic elements, Northanger Abbey also follows the maturation of Catherine Morland, a naive eighteen-year-old, ignorant of the workings of English society and prone to self-deception. Influenced by her reading of novels rife with the overblown qualities of horror fiction, Catherine concocts a skewed version of reality by infusing real people, things, and events with terrible significance. Allen, her neighbors in Fullerton, invite her to spend some time with them while vacationing in the English town of Bath. There she meets the somewhat pedantic clergyman Henry Tilney and the histrionic Isabella Thorpe, who encourages Catherine in her reading of Gothic fiction.
Aquinas Beale 1 Teach us almighty father, to consider this solemn truth, as we should do, that we may feel the importance of every day, and every hour as it passes, and earnestly strive to make a better use of what thy goodness may yet bestow on us, than we have done of the time past.
Apart from a satirical reflection on the value of the Gothic genre, the novel seems to lack consideration of any serious issue. Given such a match, how could the narration of their history be gratifying for the demanding expectations of the avid Jane Austen reader? In light of the theme of virtue and the stark contrast that Northanger Abbey presents with regard to her other novels, I suspect that the key to getting over many of these concerns lies in a careful consideration of the importance Austen gives to moral education as a source for plot development.
From the beginning, the narrator informs the reader that Catherine Morland is a heroine in training and that the course of the novel will follow her education as a heroine. Ironically, by the end of the novel, when Catherine is thrown into truly dire and dramatic circumstances, she acts with such discretion and presence of mind that it hardly even occurs to her, or the reader, that she has finally been thrown into the midst of circumstances that properly befit the stuff of a Gothic novel.
In the four novels Sense and SensibilityPride and PrejudiceEmmaand Northanger Abbey in which her heroines lack in virtue in some significant way, Austen uses shame as the impetus for the moral reform that in large part leads to the resolution of the novel.
Marianne is ashamed of her carefree openness to Willoughby; Elizabeth regrets her prideful disdain for Mr. Darcy and imprudent trust in Mr. Each of these heroines experiences proper shame in seriously reflecting on her behavior, and each subsequently resolves to amend her character by acquiring the habits that would counteract the foolhardy inclinations that had previously led her into such folly.
As he describes it, it is more like a pseudo-virtue because it is not fitting for the virtuous person to experience fear of disgrace due to incorrect actions, since the virtuous person would have behaved in a proper fashion. Thus, shame and activity are indispensable features of a moral education.
It seems that at least implicitly, Austen agrees that an active life is conducive to the development of virtue. Through her adventures in Bath and at Northanger Abbey, Catherine learns how to apply the good principles she has already learned and how to properly esteem the variety of characters and behaviors in the world.
Darcy must learn to temper his pride with amiability before he can gain the respect and love of Elizabeth as he ought. On the other hand, Henry Tilney appears to be rewarded for merely feeling a sense of gratification at receiving the attentions of a pretty young woman.
Nevertheless, Henry does not get the satisfaction of marrying Catherine directly after he expresses his intention.
In this way, they become more suited for the type of virtuous friendship that will enrich and sustain their marriage. Books on the topic of this essay may be found in The Imaginative Conservative Bookstore.
Republished with gracious permission from Dominicana April Jane Austen's Northanger Abbey - Jane Austen's Northanger Abbey Jane Austen’s Northanger Abbey is essentially the “coming of age” story of Catherine Morland, a sympathetic yet naïve young girl who spends some time away from home at the impressionable age of seventeen.
We pit Austen’s maturity against the Gothic’s adolescent acting-out, or else, somewhat contradictorily, Austen’s modernity against the Gothic’s old-fashioned weirdness, and we produce this relationship in part just by assigning Austen after the Gothic, or reading excerpts from Radcliffe as we teach Northanger Abbey, so that it appears Austen .
Gothic Style as a Representation of Women’s Fear and Anxieties in Austen’s Northanger Abbey and Bronte’s Jane Eyre Kaitlyn A.
Smith 11th Grade Northanger Abbey. In both Jane Austen’s Northanger Abbey and Charlotte Bronte’s Jane Eyre, the authors use the gothic style to represent fears or anxieties their female protagonists' lives. We drew an author’s name from a bowl for our final essay, and I pulled Jane Austen.
So I read three novels, Pride and Prejudice, she drove me batty!!–-enjoyed Northanger‘s thinly-veiled attacks on Gothic novels, Persuasion, and Northanger Abbey. But I . Sep 06, · We have essays which measure the movies based on Austen's novels in terms of audience-response, essays which compare the "message" of the adaptations to the message of the original texts, and essays which begin to look at how the techniques of film-making affect the adaptation.
Northanger Abbey by Jane Austen functions in many ways as a parody of the unrealistic conventions of the Gothic novel. Austen often highlights the nature of her characters by contrasting them with.