Austen will complete our study of the C18 Gothic. Northanger Abbey was published first in 1819, after Austen's death, which would put it well outside of our period. However, the novel was the first she wrote, and it bears more traces of the century that preceded its composition than the new literary era that Austen helped to bring into being.
I've given you the parts of the novel that offer an explicitly commentary--through the conversations of characters--on gothic fiction. The novel has some gothic elements of its own, as the title indicates, but I'll let you find those out on your own--they aren't part of these two chapters. Based on the chapters you have here, what is Austen's attitude toward the gothic? Which (if any) character expresses her views? Deadline: Friday (3/4), 1pm.
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In reading these excerpts from Northanger Abbey (and having read the novel before), the character who best identifies with Austen's view of the gothic is Henry Tilney. Tilney functions as the physical representation of Austen's scoff at the gothic genre. In discussing "The Mysteries of Udolpho," readers encounter Catherine's surprise at discovering Henry actually read and enjoyed the book. Since Northanger Abbey is essentially set up as a farce of the gothic genre, it is no surprise that Austen's damsel is shocked at a man reading sentimental-esque literature, clearly stepping outside the expected gender role. From Catherine's reaction and Henry's knowledge of the novel, readers can deduct that Austen regards the gothic as lacking much depth and being one-dimensional. Just as she is a woman stepping outside her gender role as a writer, Henry Tilney goes against the grain of the gothic's "knight in shining armor" motif.
I have not read Northanger Abbey in its entirety, so I'm not exactly sure how the novel as a whole comments on the genre of Gothic fiction. Isabella and Catherine reveal through their conversation that they absolutely love Gothic fiction, and plan to read a great deal more from the genre. However, they seem to want to read them because of the social value of being able to have read what is in style; they want to make sure that all of the books on their list are absolutely "horrid." Their conversation on Udolpho basically consists of Catherine saying what point of the plot sure is currently at, and guessing at what may happen next; there is no real substance to their discussion of the literature. Therefore, I guess one could argue that based on this conversation, Austen implies that there is no real substance to the Gothic genre, but I would feel more comfortable with this argument had I read more of the novel.
Like Sara, I also have not read Northanger Abbey in its entirety (yet--it is sitting on my bookshelf at home though, waiting for me to once again see free time), so I can't really discuss how it comments on the Gothic overall either. Judging by what I read in these chapters, though, I would argue that Austen seems to be criticizing, or "scoffing" at it a bit, like Molly points out.
My interpretation of this idea mostly stems from chapter XIV, however when I was first reading the initial paragraphs, I didn’t get the “frowning upon the Gothic” vibe. Unlike Molly, I didn't interpret Henry's having read The Mysteries of Udolpho as a negative thing; I actually considered it to be more Austen's way of telling her readers that Gothic fiction may possess more intellectual value than most believe. After all, if a learned and intelligent male can read and enjoy it, it must be of some importance. Henry even says on page 86 that "The person, be it gentlemen or lady, who has not pleasure in a good novel, must be intolerably stupid." In some respects I viewed that to mean Austen was somehow defending it.
My interpretation began to change though as the chapter and the conversations between Catherine, Henry, and Eleanor continued, and I think Sara’s point that Austen may be arguing that the Gothic has no real “substance” becomes quite evident. As the chapter unfolds, we’re definitely witness to the fact that Catherine and Eleanor have much to talk about, but their exchanges are never really anything of huge importance.
What I think is even more interesting, though, is that Austen, even within just these two chapters manages to “gender” the Gothic, making it mean different things to different people. From the very first chapter involving Isabella, we can see that Catherine is very much invested in Gothic fiction (she even tells Isabella that she “should like to spend [her] whole life reading it” [32]), however she admits that “history, real solemn history,” which is obviously a more complex, and less entertaining text to read, “[she] cannot be interested in” (88). For the most part it bores her, and her ignorance in that area spills over into her ignorance in other areas (for example, when the conversation suddenly turns to drawing, “here Catherine was quite lost. She knew. . .nothing of taste” [90]). Austen then goes into a discussion of how ignorance is really in her favor though, for ignorant, yet pretty girls, are far more attractive to men (something I read as bitterness on Austen’s end; it comes off a bit satirical). Eleanor, too, has a moment where she lacks knowledge or doesn’t understand. On page 92, she literally thinks the riots and murders Catherine is talking about are to actually occur in London; she doesn’t understand that Catherine is talking about new publications.
Henry, though, does understand. He doesn’t let his appreciation for Gothic fiction to impair his intelligence like his sister and acquaintance. He calls out his “stupid sister” (92), mocking her for her trip up, and even after Eleanor forces him to tell Catherine he thinks “very highly of the understanding of women” (92), he still does so rather sarcastically and in a “half-assed” way. (Eleanor has to tell him twice to be serious and even then she settles for an insufficient response from him.) Basically, what I mean to get at is that from these chapters, I implied that, yes, Austen overall is criticizing Gothic fiction, but more so when it is read by women, who apparently let it interfere with their intelligence, letting it instead flood their minds with silly obsessions and in turn spotlighting their ignorance. And while it may be a stretch, Austen may even be suggesting that if Gothic fiction is to be read in general, it should be read as it is by Henry, a male: for pure enjoyment that can be kept separate from other important knowledge.
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