By Jane Austen
One of many first of Jane Austen's novels to be written, and one of many final to be released, Northanger Abbey is either an a laugh tale of the way a naive lady enters society and wins the love of a witty younger clergyman, and a high-spirited parody of the lurid Gothic novels that have been well known in the course of Austen's formative years. within the procedure it encompasses a vibrant account of social existence in past due eighteenth-century bathtub, and Austen's well-known defence of the unconventional as a literary shape. This variation, according to the textual content of the unconventional as released posthumously in 1818, is observed through explanatory notes, and an appendix summarising the plots and occasions of the Gothic fictions that shape the root of a lot of Austen's comedy. moreover there's an intensive severe advent masking the context, e-book, and significant historical past of the radical, a chronology of Austen's lifestyles, and authoritative textual gear.
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Additional resources for Northanger Abbey (The Cambridge Edition of the Works of Jane Austen)
Penny Gay, Jane Austen and the Theatre (Cambridge: Cambridge University Press, 2002), pp. 71–2. 54 Austen’s novel can be seen as transforming Radcliffe’s murderous tyrants into mere fortunehunters, her oppressed heroines into women on the marriage market and the gothic world into Bath society. According to this reading, Henry Tilney is guilty of male contempt for women’s culture, and is partly responsible for Catherine’s delusions at Northanger. 55 Austen’s sources include didactic fictions which prescribed proper feminine conduct.
Modern Language Notes, vol. 16 (1901), pp. 223–4. Subsequently republished in enlarged form in Things Past (London: Constable, 1944), pp. 167–200. Gilson, Bibliography of Jane Austen, M247, p. 512; M307, p. 521; M343, p. 527; M402, p. 534; M482, p. 545; M1338, pp. 665–6. xlix Introduction indomitable unconsciousness of its full difficulty. A lesser writer or a maturer, would have either jibbed at such a task as that of interweaving two motives, of parody and serious drama, or would have crashed heavily through their thin ice.
Radcliffe’s romances’, but did not relate them to Austen’s description of Catherine, or comment upon the parodic aspects of the work. More perceptive is the anonymous article on ‘Miss Austen’ in the Englishwoman’s Domestic Magazine in 1866, in which the writer alludes to the paragraph in defence of novels, and takes it as a sign that Austen saw and recognised the value of the novel, and with unusual sagacity set to work to raise it from its degraded position . . she resolved to paint the world as she saw it, and to substitute rational for false amusement.