Northanger Abbey

“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.”

The narrator’s humorous and ironic tone continues in introducing what is about to happen to Catherine: Catherine will now leave behind her usual life in Fullerton to undertake a trip to Bath with the Allens, so that a “hero” can cross her path—this foreshadows Catherine’s eventual meeting with Henry Tilney in Bath, as well as the romance that will form one of the emotional threads of the plot. The meta-nature of the narrative here also draws attention to the artificial nature of the novel itself: The narrator is acknowledging how a story is coming together right before the reader’s eyes, which reflects the novel’s recurring preoccupations with novel-reading and generic conventions more generally.

“[Catherine’s] heart was affectionate, her disposition cheerful and open, without conceit or affectation of any kind [. . .] and her mind about as ignorant and uninformed as the female mind at seventeen usually is.”

This passage reveals important elements of Catherine’s personality at the outset of her adventures in Bath. As the narrator remarks, Catherine is good-natured and also rather trusting, as she is “open” in her disposition—a quality that will leave her vulnerable to the manipulations of the more worldly characters. The fact that her mind is “ignorant and uninformed” due to both her young age and her general inexperience foreshadows the difficulties Catherine will experience in navigating the wider world and the many lessons she will have to learn.

“‘Not keep a journal! How are your absent cousins to understand the tenor of your life in Bath without one? How are the civilities and compliments of every day to be related as they ought to be, unless noted down every evening in a journal? How are your various dresses to be remembered, and the particular state of your complexion, and curl of your hair to be described in all their diversities, without having constant recourse to a journal?’”

These words are spoken by Henry Tilney during his first conversation with Catherine. His style of speech reveals his gently irreverent sense of humor and his love of teasing her, although he does so without any real malice. Henry’s mention of the supposed importance of journal-keeping for young ladies ties into the novel’s larger thematic preoccupations with fantasy and reality and reading and storytelling more generally: While Catherine still remains in the thrall of her gothic reading habits, Henry’s playful remarks suggest that perhaps even day-to-day life is a story in its own right.

“The progress of the friendship between Catherine and Isabella was quick as its beginning had been warm, and they passed so rapidly through every gradation of increasing tenderness, that there was shortly no fresh proof of it to be given to their friends or themselves.”

Catherine’s friendship with Isabella is, as the narrator notes here, swift and strong in its development. The speed of their intimacy is, however, rather unsettling and a bit of a warning sign: Catherine has readily accepted Isabella’s friendship out of social isolation and general inexperience, which leaves her vulnerable to manipulation. Isabella will soon reveal the same pattern of rushed intimacy with other characters, revealing the shallowness of her character.

“I will not adopt that ungenerous and impolitic custom so common with novel writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding—joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine”

The narrator asserts that it is important for novel-writers to show their heroines reading and enjoying novels, since siding with critics and denigrating novels as an art form does more harm than good to their own works. This is also an example of the narrator intervening explicitly in the text to offer commentary, usually to sarcastic or humorous affect—here, the narrator once again draws attention to the artificiality of the story by breaking the “fourth wall” and reminding the reader that they are also currently reading a novel.

“She could not help being vexed at the non-appearance of Mr. Thorpe, for she not only longed to be dancing, but was likewise aware that, as the real dignity of her situation could not be known, she was sharing with the scores of other young ladies still sitting down all the discredit of wanting a partner” 

Catherine is frustrated by John’s tardiness not only because she cannot dance with anyone else since she has promised him her first dance of the evening, but also because she has to sit and wait with the other women who have not been asked to dance at all. Not only does his absence prevent her from participating in the ball, he also embarrasses her socially. John is the first character Catherine learns to respond more critically to—she notices, earlier than she does with Isabella, that his behavior is self-centered and problematic.

“‘Going to? why, you have not forgotten our engagement! Did not we agree together to take a drive this morning? What a head you have!’”

These words are spoken by John Thorpe, who turns up unexpectedly to take Catherine for a drive, even though she never agreed to one. John hopes that by surprising her and convincing her she must have agreed, he will force her into compliance. His words and behavior here reveal his manipulative habits and his desire to control Catherine for his own ends.

“It was ages since she had had a moment’s conversation with her dearest Catherine; and, though she had such thousands of things to say to her, it appeared as if they were never to be together again; so, with smiles of most exquisite misery, and the laughing eye of utter despondency, she bade her friend adieu and went on.”

Isabella’s style of speech, paraphrased in this passage, reveals her insincerity. Isabella exaggerates her affection for Catherine while showing through her behavior that she is focused only upon herself: She claims Catherine is “her dearest Catherine” and that she wants to speak to her, but nevertheless is quick to abandon her, all while feigning regret even though her demeanor clearly shows her happiness And unconcern.

“[I]n all probability not an observation was made, nor an expression used by either which had not been made and used some thousands of times before, under that very roof, in every Bath season, yet the merit of their being spoken with simplicity and truth, and without personal conceit, might be something uncommon”

Eleanor and Catherine might say common phrases or express everyday sentiments, but they do so sincerely and honestly, which makes their conversation a rarity in Bath society. Their genuine interaction stands in stark contrast with the superficial, self-serving conversations offered by Isabella and John Thorpe.

“We have entered into a contract of mutual agreeableness for the space of an evening, and all our agreeableness belongs solely to each other for that time. Nobody can fasten themselves on the notice of one, without injuring the rights of the other. I consider a country-dance as an emblem of marriage.”

Henry’s light-hearted comparison of dancing and marriage is demonstrative of both his sense of humor and his belief in the importance of respect and “agreeableness” between partners more generally. His talk of marriage also foreshadows the marriage between himself and Catherine at the novel’s end.

“‘It would be so easy to tell Miss Tilney that you had just been reminded of a prior engagement, and must only beg to put off the walk till Tuesday.’”

Isabella urges Catherine to lie to Eleanor so that she can join them for a carriage ride. This passage shows that Isabella sees the truth as something she can bend to fit her goals, whereas Catherine sees events as objective facts that she cannot change. Catherine also refuses to lie, showing that she is starting to resist Isabella’s manipulations and assert herself.

“Her conviction of being right however was not enough to restore her composure, till she had spoken to Miss Tilney she could not be at ease.”

Catherine knows she is doing the right thing, but that knowledge alone is not enough to restore her calm. In taking responsibility for clearing things up with Eleanor directly, Catherine shows a more independent streak, breaking her constant over-reliance on others.

“‘Open carriages are nasty things. A clean gown is not five minutes wear in them. You are splashed getting in and getting out; and the wind takes your hair and your bonnet in every direction. I hate an open carriage myself.’”

Mrs. Allen does not consider the social repercussions of a young lady riding with a man unchaperoned in an open carriage. She only cares about the harm it might do to one’s outfit, which solidifies her portrayal as an unsuitable guardian for Catherine. Her obsession with fashion also highlights her habitual superficiality, which in turn reflects some of the shallower aspects of high society.

“‘Consider—if reading had not been taught, Mrs. Radcliffe would have written in vain—or perhaps might not have written at all.’”

Henry’s gentle chastisement of Catherine’s statement about histories—that they were written to torture children learning to read—highlights the fact that most suffering proves to be worth the struggle in some way or another. While learning how to read may be difficult, the result is that she found literature she loves. This passage also demonstrates Henry’s usual method of dealing with Catherine: He guides her, but always with gentleness and consideration of her feelings and interests.

“‘[M]y fortune will be so small; they never can consent to it. Your brother, who might marry anybody!’”

Isabella reveals her belief that James could marry anyone he wants because she thinks he is rich. She worries the Morlands will not accept her as a daughter-in-law because she does not come from a very wealthy family. Her statement here reveals both her true motivations in seeking to marry James and her more general fixation on wealth and social status.

“That is exactly what I say; he never thinks of you. —Such fickleness! Oh! how different to your brother and mine! I really believe John has the most constant heart”

Isabella tries to turn Catherine against the Tilneys, claiming that she and her brother would never be as inconsiderate of her as she says Henry was. The reality of the situation is that Isabella’s claims are simply false; she and John have been profoundly rude to Catherine many times. Isabella only takes this approach to try to convince Catherine to go along with John’s plans to court her, further revealing her dishonest and manipulative tendencies.

“‘[T]here are more ways than one of our being sisters.’”

In this passage, Isabella hints that she and Catherine will be sisters-in-law by one way or another. If Isabella marries James, she will be Catherine’s sister-in-law, but if Catherine marries John, they will also be sisters-in-law. This comment reveals Isabella’s schemes to replace James with Frederick for the sake of more wealth and higher social standing, as well as her refusal to see that Catherine does not feel comfortable with John’s pursuit of her.

“General Tilney, though so charming a man, seemed always a check upon his children’s spirits.”

Catherine notices that the Tilneys are not their usual selves while in the General’s presence. This is one of the first instances in which she observes people’s behavior and tries to find a reason for it—although the General appears “charming,” she has begun to sense that not all is as it seems.

“And, when she saw him in the evening, while she worked with her friend, slowly pacing the drawing-room for an hour together in silent thoughtfulness, with downcast eyes and contracted brow, she felt secure from all possibility of wronging him. It was the air and attitude of a Montoni!”

Catherine observes the General’s behavior and, instead of looking for a real-world explanation, attributes his silent pacing to his being a villain. The ‘Montoni’ she references is the name of the antagonist in The Mysteries of Udolpho, who torments his wife and keeps her captive within their old house. Catherine’s gothic fantasies are clouding her judgement, distorting her perception of fantasy versus reality.

“Were she even to descend into the family vault where her ashes were supposed to slumber, were she to behold the coffin in which they were said to be enclosed—what could it avail in such a case? Catherine had read too much not to be perfectly aware of the ease with which a waxen figure might be introduced, and a supposititious funeral carried on.”

Catherine watches the General sit by his late wife’s monument, and she does not see it as a sign of legitimate grief. She suspects the General locked his wife somewhere in the house and held a fake funeral, which happened in one of her gothic novels. In once again invoking gothic tropes to interpret her reality, Catherine misses the opportunity for seeing the General’s character and actions in a more accurate light.

“‘Consult your own understanding, your own sense of the probable, your own observation of what is passing around you.’”

After discovering Catherine in his mother’s rooms, Henry gently urges Catherine to consider everything she knows to be true about their society and ask herself if she really thinks something horrible could have happened to the late Mrs. Tilney without anyone knowing. His advice here is that Catherine needs to rely on objective observation—not gothic fantasies. What is more, his reprimand is a reminder to Catherine that Henry is personally affected by the lurid fantasies she creates about his mother and father.

“‘Prepare for your sister-in-law, Eleanor, and such a sister-in-law as you must delight in! —Open, candid, artless, guileless, with affections strong but simple, forming no pretensions, and knowing no disguise.’”

Henry jokingly says this about Isabella marrying Frederick, but he also means it as a hint that Catherine will be Eleanor’s future sister-in-law. Catherine misses the point, but the words he uses here describe Catherine much better than they do Isabella.

“‘She must think me an idiot, or she could not have written so; but perhaps this served to make her character better known to me than mine is to her. I see what she has been about. She is a vain coquette, and her tricks have not answered. I do not believe she ever had any regard either for James or for me, and I wish I had never known her.’”

After receiving Isabella’s letter trying to persuade her to intervene with James, Catherine is angry upon realizing that Isabella means to manipulate her yet again. She sees the truth of her former friend’s character, and she regrets having trusted her in the past. This definitive break with Isabella signals the high point of Catherine’s development as a character.