Vicissitudes In Jane Austen's Northanger Abbey, A Bildungsroman

Jane Austen begins his passage to his novel by creating an honest and nonjudgemental tone when explaining the reality of Catherine Morland's simplistic life, and simple parents. Austen states, “ No one who had ever seen Catherine Morland in her infancy would have supposed her born to be a heroine”, Austen sets the tone honestly that Catherine is the opposite of a heroine, yet hints to the reader that she eventually does grow to become someone of

This article analyzes the way Austen portrays women in her novels. Kruger mentions that Jane Austen’s work is often deprived by the

Jane Austen was a Georgian era author who was best known for her novels that commented on social issues and class, and Northanger Abbey is no exception. Austen’s social commentary is apparent in this novel’s plot, as the reader follows a seventeen-year-old protagonist, Catherine Morland, as she matures and forms intimate relationships with fellow characters in an England town called Bath. Marriage between characters in the novel is heavily based on wealth, and because of England’s unstable economy at the time, marrying into wealth meant maintaining a high social class and economic stability for the characters. The importance of economic prosperity and social rank heavily influenced marriage in 19th century England, and this idea bourgeoisie classism and marrying for wealth is contradicted by Austen in her novel, Northanger Abbey.

Fitting with the common theme between the two novels of the judgment of others, each heroine falls victim to a horrible misjudgment of the character of another. After discovering that the engagement between her brother and her friend Isabella has been broken, Catherine finds she has grossly misjudged her friend’s character, and thinks, “She was ashamed of Isabella, ashamed of ever having loved her” (Northanger 150). Elizabeth, on the other hand, finds her attachment the Wickham wholly inappropriate after receiving her letter from Mr. Darcy. After digesting the shocking contents of the letter, Elizabeth “grew absolutely ashamed of herself.—Of neither Darcy nor Wickham could she think, without feeling that she had been blind, partial, prejudiced, absurd” (Pride 156). And indeed, as suggested by Elizabeth’s mention of Darcy, this misjudgment goes on to affect each girl’s attachment to her future husband.

Austen’s representation of reading epitomises the excesses of the imagination exhibited by sentimental readers which effectively led to their disconnection from reality. Austen’s employment of the gothic reflects Catherine’s transition from the excesses of her gothic fantasies to reality, which fundamentally enables Catherine to develop independent judgement through her exploration of human experience and to reject her projection of idealist imaginations influenced by her gothic readings (move up). Although Austen satirizes the excesses of sensibility through the characterisation of Catherine’s absorption of the gothic, Austen does not completely ridicule or dismiss the truth behind the gothic or the imagination. Richardson (2005:399) explains

The value of literature delineates an opportunity for humanity to achieve collective growth. The intellectual capability of both individuals and communities are affected by the importance assigned to literary works. Lack of such regard results in a limited capacity for sociological cohesion consequently shaping the discourse of an era. Austen inadvertently expresses the minimal regard for written material in her society through Pride and Prejudice. The exclamation “there is no enjoyment like reading!” highlights the passion felt for such an activity. However, this desire can be attributed to discourse. Austen exhibits this through the cultural expectation that a woman “must have thorough knowledge”, furthered by the dialogue of gaining cognizance

From my point of view, Jane Austen should be seen as a ‘feminist’ writer. As she wrote in one of her novel Persuasion, she considers that ‘Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands. I will not allow books to prove anything’ (Anne Elliot, in Jane Austen’s Persuasion). Such feminist ideas are expressed in many of her literary works. In her another novel Northanger Abbey, there are various issues discussed, which include not only marriage, social criticism and Gothic, but also feminism as well. The essay is to discuss Jane Austen and her feminist thoughts by analyzing Northanger Abbey.

Catherine is so wrapped up in her fictional world of reading that she becomes ignorant of her real life issues with Henry Tilney, for whom she has been love-struck since their introduction. She entertains herself with wild imaginings about his life and family. Catherine's imaginings foreshadow her eager desire for mischief as Austen's story develops. Catherine is endowed with a vivid imagination, but she has not yet learned to use it in concert with her perception, especially in understanding the interactions between people.

Jane Austen's Northanger Abbey establishes the inner feeling of a woman based on her own personal experience which provides a vivid glance into her perspective. Correspondingly, it reinstates Gothic novels as an reflection marginalized by the experiences of women living in the upper class. For contemporary modern day, Northanger Abbey functions as a warning, depicting the danger of amorous and sexual exploitation from the opportunistic characters within a social environment. These dangers are a realistic theme even in today's society marking potential threat for women. Mostly importantly, it serves as a device that's depicts the social separation between the companionship of woman and the inhuman acknowledgement of women as objects, which fosters the necessarily development for both men and

Much to Catherine’s pleasure, she has a walk scheduled with her sweetheart, Henry Tilney, and her dearest friend, Eleanor Tilney. However, on the morning of the walk, it rains. Austen uses the rain to foreshadow the upcoming unpleasant events. In the afternoon, the rain subsides leaving a muddy mess. Unexpectedly, Isabella Thorpe, John Thorpe, and James Morland arrive at her house. They request that Catherine go along on their trip to neighboring cites. However, Catherine feels obligated to stay in the house and await Henry Tilney and Eleanor Tilney. In his typical self-centered manner, John Thorpe declares that he saw Tilney engaging in other activities, “I saw him at that moment turn up the Lansdown Road, - driving a smart-looking girl” (Austen 53). Although perplexed as to why the Tilneys did not send word that their engagement should be broken, she consents to the proposed carriage ride. While riding out of her neighborhood, Catherine spots Eleanor and Henry Tilney walking towards her house. Catherine, exclaims, “Pray, pray stop, Mr. Thorpe. - I cannot go on. - I will not go on. - I must go back to Miss Tilney.” (Austen 54). John Thorpe disregarding Catherine’s plea, “laughed, smacked his whip, encouraged his horse, made odd noises, and drove on” (Austen 54). During this scene, Austen magnifies the villainy of John Thorpe by whisking away with innocent Catherine.

Soon after her own arrival in Bath, Catherine is followed by her brother James and Isabella’s brother John Thorpe. At the initial meeting with the boys, Catherine is mistaken on two different points, still being ignorant in her perceptions of other people. Although slightly thrown off by John’s manners, Catherine is unable to formulate her own negative opinion of him, too affected by the opinions of Isabella and James, and “her judgment was further brought off by Isabella’s assuring her…that John thought her the most charming girl in the world” (Austen 48). For Catherine, it is easier and more natural to accept the opinions of someone like Isabella, a mentor figure. Also, in the same scene, Catherine makes the assumption that her brother James has journeyed “so far on purpose to see me” (49). Catherine hastily jumps to this false conclusion, not having the experience to detect James’ continuous questions and compliments of Isabella as a sign of his true motives for coming to town: to visit the “prettiest girl in Bath” (49).

Starting from the opening sentence of the book, Catherine is repeatedly described as a heroine: “No one who had ever seen Catherine Morland […] would have supposed her born to be an heroine” (15), “from fifteen to seventeen she was in training for a heroine” (17). Furthermore, the plot is filled with experiences that are imagined by her as grand events typical of the Gothic genre, only to end in everyday, normal happenings. These intrusions guide the reader to laugh at Catherine’s naiveté by mocking the way she is swept up by Gothic novels: “And now I may dismiss my heroine to the sleepless couch, which is the true heroine’s portion; to a pillow strewed with thorns and wet with tears” (86). As Katie Halsey puts it: “[it] shows Austen’s amused ability to resist and appropriate for her own purposes what she perceived as ridiculous or unnatural in the writing of others” (Halsey

Set in 1798 England, Jane Austen’s Northanger Abbey is the “coming of age” story of Catherine Morland, a naïve young girl who spends time away from home at the malleable age of seventeen. Catherine’s introduction into society begins when Mr. and Mrs. Allen, her neighbors in Fullerton, invite her to accompany them as they vacation in the English town of Bath. While in Bath, Catherine spends her time visiting newly-made friends, such as Isabella Thorpe, and attending balls and plays. Catherine soon after is introduced to Henry Tilney, a handsome yet mysterious clergyman whom she finds herself attracted to. Catherine also befriends Eleanor

Jane Austen’s Northanger Abbey is a novel that features vibrant character development but the biggest development is that which occurs in Catherine Morland. Catherine’s character nearly develops in all components of her being and she is able to evolve from the unorthodox “heroine” that she is initially described as. In the novel, Catherine starts out as an incredibly naïve and inexperienced girl who confuses all facets of the real world as the plot in a Gothic novel. Catherine develops as a character through her social interactions with those around her as it helps her gain experience with how to correctly perceive the world. With her newly gained experience of her surroundings, Catherine develops and is able to see the real world through a social lens rather than her own subjective lens or that of a Gothic lens.

Pride and Prejudice is one of the most popular novels written by Jane Austen. This romantic novel, the story of which revolves around relationships and the difficulties of being in love, was not much of a success in Austen's own time. However, it has grown in its importance to literary critics and readerships over the last hundred years. There are many facets to the story that make reading it not only amusing but also highly interesting. The reader can learn much about the upper-class society of this age, and also gets an insight to the author's opinion about this society. Austen presents the high-society of her time from an observational point of view, ironically describing human behavior. She describes what she sees and adds her own