by Jane Austen
Again, none of us (we hope!) has ever seen a vampire, a werewolf, or a ghost, though these are standard items in the gothic novel. But many of Austen’s readers would know the tribulations of finding suitable mates and the disasters that beset young people as they try to get on with life. Austen’s England is alien territory insofar as her twenty-first-century readers are concerned, especially its class structure. Marriage, for example, while it could be the happy union of two people who cared for each other, was in Austen’s day really a union of fortunes; in the same way, becoming a clergyman did not necessarily reflect religious fervor: It was a profession like any other. In Northanger Abbey, we see the impoverished Isabella Thorpe desperately trying to find a man who will be able to maintain her in upper-class style, becoming engaged to one (Catherine Morland’s brother James), and instantly throwing him over when a better candidate (Captain Frederick Tilney) appears.
Little does she know that Frederick, a flirtatious rogue and therefore Isabella’s male twin, is simply toying with her, so breaking off with James Morland ultimately leads her to disaster. But James’s parents are relieved when the engagement collapses, because, as Catherine’s mother explains to her in the most precise terms (p. 222), Isabella Thorpe has no money. The same argument—poor people are not suitable as mates—almost destroys Catherine’s chances of marrying Henry Tilney. Only because his daughter marries into the nobility (a viscount), does General Tilney allow his second son (who will not, because of the laws of primogeniture, inherit his estates) to marry the daughter of a country parson with ten children.
This is what Austen considers the material of novelistic lives: how members of contemporary English society confront the issues of the day and either overcome them (Catherine Morland and Henry Tilney eventually marry) or succumb to them (by the end of the novel, Isabella Thorpe finds herself virtually destitute and without either a fiance or a wealthy prospect). Because Austen is writing with a comic view of society, her protagonist, Catherine Morland, will triumph, even if this means her author must resort to a deus ex machina to extricate her from her dilemma: General Tilney is so happy his daughter has married a viscount that he decides his second son’s choice of a poor bride is of little importance.
Money, then, is the great variable and the controlling factor in the lives of Austen’s characters, especially her women, because without it they are, in social terms, worthless. This was as true in real life as it was in fiction: Jane Austen fell in love with Tom Lefroy in 1796, but, since she was virtually penniless and her beau an impoverished Irish barrister-to-be, marriage was out of the question, a reality she accepted. That people did fall in love, run away, and live happily ever after was certainly possible in Austen’s day, but such relationships were the exception rather than the rule.
So while there is some social mobility within English society—men could make their fortune in the military or by going to India and engaging in trade, and the industrial revolution, which would utterly transform Western society, was just getting under way—the basic structure of Austen’s world was fixed. Class distinctions were rigid, and each layer of the social hierarchy was jealous of its rights and privileges. The nation, led in Austen’s lifetime by the sometimes mad King George III (1738-1820), who ruled between 1760 and 1820, was certainly an idea everyone could identify with, especially when Napoleon threatened to invade, but family connections determined an individual’s fate in a decisive way: Someone born a peasant was likely to remain one all his life; someone, like Austen herself, born an impecunious “gentlewoman,” would always remain one, even if that meant never marrying or having children. The fate of women was more fixed than that of men: They could not hope for careers in trade or in the military; their educational opportunities were few (no universities accepted women), and beyond matrimony or being a nursemaid, governess, domestic servant, entertainer, or prostitute, they had few opportunities.
Which is why the eruption of women into literary production was so important to Jane Austen, who takes great pains in Northanger Abbey to extol the virtues of prose fiction, a vehicle for female creativity and an opportunity for women to escape domestic servitude. It is also for this reason that while Austen views the novel as superior to the gothic romance she has great respect for those, especially Ann Radcliffe, who made a name for themselves by means of the gothic novel. We may assume, then, that Austen is speaking in her own voice when she says:
There seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them.... work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour are conveyed to the world in the best chosen language (p. 32).
We may wonder why there was such a prejudice against the novel, but the reasons are clear. First, the novel does not require the reader to be highly educated, so it demands no special training; second, the novel’s intended readers were in the main women; and third, the novel’s analysis of character and society constituted a threat precisely because it could hold up an objective, realistic mirror to a society shot through with hypocrisy and inequity. Satire criticizes through caricature and mockery; romance transports the reader to imaginary worlds; but the true novel in the hands of a clear-eyed author like Jane Austen is dangerous because it appropriates a function that, until it came into the world, had been the exclusive sphere of history—to tell the truth.
Alfred Mac Adam, Professor at Barnard College-Columbia University, teaches Latin American and comparative literature. He is a translator of Latin American fiction and writes extensively on art. Between 1984 and 2002, Mac Adam was the editor of Review: Latin American Literature and Arts, a publication of the Americas Society. He has written an introduction and notes for the Barnes & Noble Classics editions of H. G. Wells’s The Time Machine and The Invisible Man and The War of the Worlds.
Advertisement, by the Authoress, to Northanger Abbey.
This little work was finished in the year 1803, and intended for immediate publication. It was disposed of to a bookseller; it was even advertised, and why the business proceeded no farther, the author has never been able to learn. That any bookseller should think it worth while to purchase what he did not think it worth while to publish seems extraordinary. But with this, neither the author nor the public have any other concern than as some observation is necessary upon those parts of the work which thirteen years have made comparatively obsolete. The public are entreated to bear in mind that thirteen years have passed since it was finished, many more since it was begun, and that during that period, places, manners, books, and opinions have undergone considerable changes.
Volume 1
CHAPTER I
No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be an heroine. Her situation in life, the character of her father and mother, her own person and disposition, were all equally against her. Her father was a clergyman, without being neglected, or poor, and a very respectable man, though his name was Richard1—and he had never been handsome. He had a considerable independence,a besides two good livingsb—and he was not in the least addicted to locking up his daughters. Her mother was a woman of useful plain sense, with a good temper, and, what is more remarkable, with a good constitution. She had three sons before Catherine was born; and instead of dying in bringing the latter into the world, as any body might expect, she still lived on—lived to have six children more—to see them growing up around her, and to enjoy excellent health herself. A family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number; but the Morlands had little other right to the word, for they were in general very plain, and Catherine, for many years of her life, as plain as any. She had a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features;—so much for her per
son;—and not less unpropitious for heroism seemed her mind. She was fond of all boys’ plays, and greatly preferred cricket, not merely to dolls, but to the more heroic enjoyments of infancy, nursing a dormouse, feeding a canary-bird, or watering a rose-bush. Indeed she had no taste for a garden; and if she gathered flowers at all, it was chiefly for the pleasure of mischief—at least so it was conjectured from her always preferring those which she was forbidden to take.—Such were her propensities—her abilities were quite as extraordinary. She never could learn or understand any thing before she was taught; and sometimes not even then, for she was often inattentive, and occasionally stupid. Her mother was three months in teaching her only to repeat the “Beggar’s Petition,”2 and, after all, her next sister, Sally could say it better than she did. Not that Catherine was always stupid,—by no means; she learnt the fable of “The Hare and many Friends,” as quickly as any girl in England.3 Her mother wished her to learn music; and Catherine was sure she should like it, for she was very fond of tinkling the keys of the old forlorn spinnet;c so, at eight years old she began. She learnt a year, and could not bear it; and Mrs. Morland, who did not insist on her daughters being accomplished in spite of incapacity or distaste, allowed her to leave off. The day which dismissed the music-master was one of the happiest of Catherine’s life. Her taste for drawing was not superior; though whenever she could obtain the outside of a letter from her mother, or seize upon any other odd piece of paper, she did what she could in that way, by drawing houses and trees, hens and chickens, all very much like one another.—Writing and accounts she was taught by her father; French by her mother: her proficiency in either was not remarkable, and she shirked her lessons in both whenever she could. What a strange, unaccountable character!—for with all these symptoms of profligacy at ten years old, she had neither a bad heart nor a bad temper; was seldom stubborn, scarcely ever quarrelsome, and very kind to the little ones, with few interruptions of tyranny; she was moreover noisy and wild, hated confinement and cleanliness, and loved nothing so well in the world as rolling down the green slope at the back of the house.
Such was Catherine Morland at ten. At fifteen appearances were mending; she began to curl her hair and long for balls; her complexion improved, her features were softened by plumpness and colour, her eyes gained more animation, and her figure more consequence. Her love of dirt gave way to an inclination for finery, and she grew clean as she grew smart; she had now the pleasure of sometimes hearing her father and mother remark on her personal improvement. “Catherine grows quite a good-looking girl,—she is almost pretty to-day,” were words which caught her ears now and then; and how welcome were the sounds! To look almost pretty is an acquisition of higher delight to a girl who has been looking plain the first fifteen years of her life, than a beauty from her cradle can ever receive.
Mrs. Morland was a very good woman, and wished to see her children every thing they ought to be; but her time was so much occupied in lying-ind and teaching the little ones, that her elder daughters were inevitably left to shift for themselves; and it was not very wonderful that Catherine, who had by nature nothing heroic about her, should prefer cricket, base ball,e riding on horseback, and running about the country at the age of fourteen, to books—or at least books of information—for, provided that nothing like useful knowledge could be gained from them, provided they were all story and no reflection, she had never any objection to books at all. But from fifteen to seventeen she was in training for a heroine; she read all such works as heroines must read to supply their memories with those quotations which are so serviceable and so soothing in the vicissitudes of their eventful lives.
From Pope, she learnt to censure those who
“bear about the mockery of woe. ”
From Gray, that
“Many a flower is born to blush unseen,
And waste its fragrance on the desert air.”
From Thomson, that
—“It is a delightful task
To teach the young idea how to shoot. ”
And from Shakespeare she gained a great store of information—amongst the rest, that
—“Trifles light as air,
Are, to the jealous, confirmation strong,
As proofs of Holy Writ. ”
That
“The poor beetle, which we tread upon,
In corporal sufferance feels a pang as great
As when a giant dies. ”
And that a young woman in love always looks
—“like Patience on a monument
Smiling at Giief. ”4
So far her improvement was sufficient—and in many other points she came on exceedingly well; for though she could not write sonnets, she brought herself to read them; and though there seemed no chance of her throwing a whole party into raptures by a prelude on the pianoforte, of her own composition, she could listen to other people’s performance with very little fatigue. Her greatest deficiency was in the pencil—she had no notion of drawing—not enough even to attempt a sketch of her lover’s profile, that she might be detected in the design. There she fell miserably short of the true heroic height. At present she did not know her own poverty, for she had no lover to pourtray. She had reached the age of seventeen, without having seen one amiable youth who could call forth her sensibility: without having inspired one real passion, and without having excited even any admiration but what was very moderate and very transient. This was strange indeed! But strange things may be generally accounted for if their cause be fairly searched out. There was not one lord in the neighbourhood; no—not even a baronet. There was not one family among their acquaintance who had reared and supported a boy accidentally found at their door5—not one young man whose origin was unknown. Her father had no ward,f and the squireg of the parish no children.
But when a young lady is to be a heroine, the perverseness of forty surrounding families cannot prevent her. Something must and will happen to throw a hero in her way.
Mr. Allen, who owned the chief of the property about Fullerton, h the village in Wiltshire where the Morlands lived, was ordered to Bathi for the benefit of a gouty constitution;j—and his lady, a good-humoured woman, fond of Miss Morland, and probably aware that, if adventures will not befall a young lady in her own village, she must seek them abroad, invited her to go with them. Mr. and Mrs. Morland were all compliance, and Catherine all happiness.
CHAPTER II
In addition to what has been already said of Catherine Morland’s personal and mental endowments, when about to be launched into all the difficulties and dangers of a six weeks’ residence in Bath, it may be stated, for the reader’s more certain information, lest the following pages should otherwise fail of giving any idea of what her character is meant to be; that her heart was affectionate, her disposition cheerful and open, without conceit or affectation of any kind—her manners just removed from the awkwardness and shyness of a girl; her person pleasing, and, when in good looks, pretty—and her mind about as ignorant and uninformed as the female mind at seventeen usually is.
When the hour of departure drew near, the maternal anxiety of Mrs. Morland will be naturally supposed to be most severe. A thousand alarming presentiments of evil to her beloved Catherine from this terrific separation must oppress her heart with sadness, and drown her in tears for the last day or two of their being together; and advice of the most important and applicable nature must of course flow from her wise lips in their parting conference in her closet. Cautions against the violence of such noblemen and baronets as delight in forcing young ladies away to some remote farm-house, must, at such a moment, relieve the fulness of her heart. Who would not think so? But Mrs. Morland knew so little of lords and baronets, that she entertained no notion of their general mischievousness, and was wholly unsuspicious of danger to her daughter from their machinations. Her cautions were confined to the following points. “I beg, Catherine, you will always wrap yourself up very warm about the throat, when you come from the Rooms at night; and I wish you woul
d try to keep some account of the money you spend;—I will give you this little book on purpose.”
Sally, or rather Sarah, (for what young lady of common gentility will reach the age of sixteen without altering her name as far as she can?) must from situation be at this time the intimate friend and confidante of her sister. It is remarkable, however, that she neither insisted on Catherine’s writing by every post, nor exacted her promise of transmitting the character of every new acquaintance, nor a detail of every interesting conversation that Bath might produce. Every thing indeed relative to this important journey was done, on the part of the Morlands, with a degree of moderation and composure, which seemed rather consistent with the common feelings of common life, than with the refined susceptibilities, the tender emotions which the first separation of a heroine from her family ought always to excite. Her father, instead of giving her an unlimited order on his banker, or even putting an hundred pounds bank-bill into her hands, gave her only ten guineas,k and promised her more when she wanted it.
