The Unconventional Gothic Heroine in Northanger Abbey Northanger Abbey critiques the classic concept of a romantic heroine with the characters of Catherine and Isabella. Austen parodies characters like Emily and Adeline in Ann Radcliffe’s novels The Mysteries of Udolpho and The Romance of the Forest. The classic romantic heroine is innocent, naïve to cruelty and deception, expressive of feelings, humble, loyal, and a lover of nature. Isabella wants to appear as if she is a perfect romantic heroine but in reality her actions show otherwise. Catherine does not outwardly appear to be a romantic heroine; in fact, Austen herself mentions that Catherine is not your typical romantic heroine. Yet, in the end, Catherine is the one who exhibits most …show more content…
Austen sarcastically mentions the “importance” of the Gothic heroine’s innocence by referring to it as ignorance: “To come with a well-informed mind, is to come with an inability of administering to the vanity of others, which a sensible person would always wish to avoid. A woman especially, if she have the misfortune of knowing any thing, should conceal it as well as she can” (81). Catherine is ashamed of her ignorance of important talents that women were expected to appreciate at the time. Moreover, and even more importantly, she is naïve to the misleadings of Isabella, mistaking her to be a good friend, when in reality, she was only using Catherine for her own gain (Austen 107-108). Catherine insists on maintaining Isabella’s innocence, truth, and good intentions until it is absolutely impossible to do so in light of her brother’s word. Isabella, on the other hand, acts cruelly and with deception to serve her own purposes, in no way acting as a true Gothic heroine would in her …show more content…
Isabella frequently abandons Catherine and generally shows that she cannot be counted on to look after Catherine’s best interests. When out dancing, Isabella forgets about her “dear friend” Catherine whenever there is a man like James around to give her attention (Austen 41). Austen marks this comparison and failure of Isabella’s loyalty to her friend: “Of her other, her older, her more established friend, Isabella, of whose fidelity and worth she had enjoyed a fortnight’s experience, she scarcely saw any thing during the evening” (57). Isabella appears to only be around and act friendly when she knows there is something to be gained from the relationship. In the case of her friendship with Catherine, this was likely due to her brother, James. After James and Isabella become engaged, Isabella states, “Had I the command of millions, were I mistress of the whole world, your brother would be my only choice” (Austen 87). Even Catherine takes note of how much this statement connects Isabella to other Gothic heroines of the stories she so loves. Yet, it is nothing but false lies. Isabella dumps James as soon as she finds a suitor that seems to offer her the prospect of more status and wealth. Indeed, her engagement does nothing to stop Isabella from flirting around with other men, like Captain Tilney. Isabella’s loyalty therefore, does not extend to her romantic relationships
...e and high society, but shift the focus from a first-person perspective (Evelina) to the more omniscient third-person narrator’s voice (Northanger Abbey), and there are many comparison points to be made between the two. They enrich each other, offering two perspectives on a very similar world—one character sees reality, as it is—the humor, the difficulties, and danger of it. The other creates her own reality, allowing her imagination to cloud what may actually be truth. Combined, they offer a rich glimpse into the life of an 18th century girl becoming an 18th century woman.
Women in the time of Jane Austen dedicated their lives to being good-looking (seen in the vanity of Lydia and Kitty especially) and accomplished to ensure they were marriage material, just as the maiden tried to be enchanting and desirable for The Prince. Both texts illustrate an imbalance and struggle for equality within the oppressive rules and expectations that revolve around women’s lives, and so, their relationships.
Jane Austen completes her story with a “Cinderella ending” of Catherine and Henry marrying. However, her novel is more than a fairytale ending. Although often wrong and misguided in their judgments, she shows the supremacy of males that permeated throughout her society. Jane Austen takes us from a portrayal of men as rude, self-centered, and opinionate to uncaring, demanding, and lying to downright ruthless, hurtful, and evil. John Thorpe’s and General Tilney’s total disregard for others feelings and their villainous ways prove Austen’s point. Whether reading Northanger Abbey for the happy ending or the moral lesson, this novel has much to offer.
In Jane Austen’s Northanger Abbey, Austen portrays her heroine, Catherine as an innocent young girl who fails to understand the language. She is too young that she cannot understand the words may have different meaning. Catherine consistently misjudges people around her. She fails to interpret about what ...
Using Caroline Bingley as a foil to Elizabeth, Austen critiques the aspirations and achievements that are traditionally considered to be of value to women. Caroline’s outlook regarding what makes women accomplished finds resonance with James Fordyce’s Sermons to Young Women (1766). These stereotypical regency-era ideals encourage ‘instruction in the fine arts’ (Fordyce, 127), including the study of embroidery, drawing, music and dance and completely discount the value of academic achievements. In contrast, Elizabeth is deeply interested in intellectual pursuits yet has not received a typical female education with ‘steady and regular instruction’ (Austen, 161) administered by a governess. Although Austen contrasts these two methods of education,
In Pride and Prejudice, Elizabeth Bennet’s journey to love and marriage is the focal point of the narrative. But, the lesser known source of richness in Austen’s writing comes from her complex themes the well-developed minor characters. A closer examination of Charlotte Lucas, Elizabeth’s dear friend in Pride and Prejudice, shows that while she did not take up a large amount of space in the narrative, her impact was great. Charlotte’s unfortunate circumstances in the marriage market make her a foil to Elizabeth, who has the power of choice and refusal when it comes to deciding who will be her husband. By focusing on Charlotte’s age and lack of beauty, Austen emphasizes how ridiculous and cruel marriage can be in this time.
Catherine was born into a rich solid family, where her father, Mr. Earnshaw, was a strict man, and her mother, Mrs. Earnshaw, was a pretentious woman. Through her conceited youth Catherine’s immaturity is clearly explained. Born with a very strong attitude; she is the type that throws a fit when doesn’t get what she wants. An example is, “when she learnt the master had lost her whip in attending the stranger, showed her humor by grinning and spitting at the stupid little thing” (33). Catherine was never love by her father, whom felt the need to tell her, “Nay Cathy, I cannot love thee; thou’rt worse than thy brother. Go, s...
Catherine is very pleased to meet Isabella after being disappointed in not seeing Mr Tilney again. The narrator informs the reader that Catherine is fortunate in finding a friend as ‘Friendship is certainly the finest balm for the pangs of disappointed love.’ (p.18 NA). Isabella being the elder of the two has much more knowledge of fashionable society than Catherine and is, therefore, able to teach her a great deal about the expectations of society at that time.
Charlotte, serving as a basis for time’s views, allows the reader a glimpse into the institution of marriage in the Regency Era. Charlotte more than emphasizes just how radical Elizabeth was for her time, since she was willing to wait for the perfect man rather than settle. As a contrast, she helps Austen create a unique relationship between Darcy and Elizabeth. Austen disproves Charlotte’s and the general society’s pragmatic belief in a likely unhappy marriage. Through Charlotte’s marriage, Austen gains a more cynical and realist voice; she shows that the heart does not always have to be consulted with for a comfortable union.
Several times in Northanger Abbey Austen’s main character, Catherine, gets caught up in her emotions. In the second part of Austen’s story, Catherine is frequently consumed by curiosity, and it is in this same part of the novel in which the gothic mood is introduced, beginning with Catherine’s travels to Northanger Abbey. Catherine is eager to find the abbey to be like those that she reads about in novels, and Henry affirms this belief stating, “And are you prepared to encounter all the horrors that a building such as ‘what one reads about’ may produce? – Have you a stout heart? - Nerves fit for sliding panels and ta...
Jane Austen, also criticizes marriage based on convenience and money. She criticizes through the experiences of Charlotte and Collins. The characters Charlotte and Collins are “perfect” for each other, they are both fake, selfish and scheming. In the nineteenth century, “most” not all women had this mindset where they wanted to marry successful and rich men to secure their futures. Love meant nothing to these types of women. Materialistic things meant everything. Charlotte Lucas is a character that only got married to secure her future. “Miss Lucas perceived him from an upper window...and instantly set out to meet him accidentally in the lane” After Charlotte finds out collins had been
Early in the essay Gargano states that, "in James's fiction, naivete may wear the look of an empty mind, but it is often the ideal preparation for receiving life fully and impressionably" (130). Gargano then tells us that Catherine will feel more intensely because she has not known strong emotions before. According to him, "her ingenuousness is the key to her genuineness and her sense of seeing, feeling, and judging life for the first time" (130). I feel this is a key element in understanding Catherine.
...ied about his intentions during the entire novel, no one truly knows him. Frank’s uncle, Mr. Churchill is inferior to his wife in regards of control. Throughout the novel the reader hears more about his wife than they hear about him. Their relationship represents complete switch of the traditional idea of man being superior to woman. The Knightleys however, John and Isabella, are purely conventional and are ideal couple for Nineteenth Century society’s times. Mr. Elton does not represent true gentility while Mr. Weston too gentle. Although all of these characters have their flaws, Austen finds her perfect figure in George Knightley. His infallible nature is unrealistic, yet it gives society the ultimate gentleman to aspire for. Austen’s Emma is more than a comedic novel of manners but also a quintessential piece that fits perfectly into the lives of today’s society.
The character of Lady Catherine de Bourgh is an integral element of the plot, contributing to, as well as influencing, the final outcome of Darcy's marriage and the various factors associated with it. Lady Catherine, a prominent and influential noblewomen in the English aristocracy, thrusts her domineering predilections onto her family, friends, and acquaintances, starting with the pompous clergyman she patronizes, Mr. Collins. Lady Catherine exerts her influence upon Mr. Collins by frankly telling him that he "must marry ...a gentle woman for [her] sake" (92). This effectively causes Collins to peruse Elizabeth, the daughter of the man whose estate he will inherit. After being rejected by Elizabeth, Collins marries Elizabeth's childhood friend Charlotte. On a trip to visit the newly married couple, Elizabeth finds herself and Lady Catherine's nephew, Fitzwilliam Darcy, at a dinner party hosted by Lady Catherine herself. At the dinner party, Lad...
Catherine’s revenge does not make things better for her. Her revenge on Heathcliff by blaming him for her upcoming death does not meliorate her mind. Just before she dies, she ascribes Heathcliff for her “murder.” “You have killed me, and thriven on it, I think” (Bronte 158). Catherine resembles what Oliver Goldsmith said, “When lovely woman stoops to folly, and finds too late that men betray, what charm can soothe her melancholy?