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Northanger Abbey

Decent Essays

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 …show more content…

Richardson explains how this confusion was relevant of the historical and cultural context of Austen’s era. Both the Gothic and the sentimental genres were regularly criticised for influencing readers to project fictional elements into real life. As Richardson explains, the Gothic was singled out for condemnation through its ‘thematics of female constraint and persecution and its fictive indulgence in forbidden lusts and passions, and the sentimental novel, with its ideal or ‘romantic’ picture of life and its over-valuation of erotic love as the key to female happiness (Richardson 2005:399). This projection is reflected in Northanger Abbey when Catherine is invited to Northanger Abbey: ‘Northanger Abbey! These were thrilling words, and wound up Catherine’s feelings to the highest point of ecstasy’ ( Austen pp.99-100). The use of ‘ecstasy’ reflects Catherine’s excessive personality and self-transcendence. Catherine’s gothic idealist vision of the abbey and her pursuit of pleasure, signifies her lack of self-directedness in which she dismisses her own control of life and puts herself in the position of the gothic heroine as portrayed in her reading of Radcliffe’s ‘The Mysteries of Udolpho’. The prominent role of ‘The Mysteries of Udolpho’ in Northanger Abbey is highly symbolic in representing Austen’s concerns of the excesses of sensibility and the gothic and how they can distort the reader’s interpretation of life. Barker-Benfield (p.111) highlights how ‘Radcliffe’s Mysteries typically hinted at its apparent dangers but continued to convey its tenets. And no one could prevent readers from identifying with figures the author intended as warnings against sensibility’s ‘excesses’.

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