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What critics disagree on, however, is just what Catherine (or the
reader) is being educated to see. Each political school of Austen critics
substitutes a different educational agenda. Traditional Janeite
conservatism sees Austen as resisting the Romantic artistic impulses
of her time, inventing realism as a means of inculcating good middle-
class morality into land-owning gentry. Northanger’s parody of Gothic
romantic excesses aligns quite neatly with such views. Feminist
scholars read the novel against the grain, seeing its seemingly
conservative deconstruction of Gothic as ironic (after all, Catherine is
correct about General Tilney’s character, even if she detects the
wrong crime). Other critical approaches are more complicated, and
require more mental gymnastics on the part of the reader. Marilyn
Butler, for example, argues for a sort of "conservative feminism"
approach in Jane Austen and the War of Ideas, pointing out that
contemporary feminism was often rationalist and anti-Jacobin, and
thus the invention of realism can be both feminist and Tory.
Foucauldian critics see the novel’s politics as both complicated and
sinister. Northanger Abbey exemplifies, perhaps unconsciously, the
panopticism of the industrial capitalist society that was coming into
being during its period—this is how Paul Morrison describes the novel’s
embodiment of the "domestic carceral." Thus Catherine is educated
into being a good subject of the state without Austen intending it.
Even more recent critics have given up on deciding whether or not the
novel intends anything; such a hyper-postmodern approach notes both
the possible conservative and subversive meanings of the novel, but
contends that the ironies of the text are too numerous and too
reversible to allow a reader to find any stable position.
Henry Tilney teaches Catherine how to be ironic, how not to see the
world only in the most straightforward way. Catherine’s evolving
attitude toward the Gothic during the course of the novel is one
example of her progress in learning irony. Only by comparing novels
with real life experiences can a reader judge either correctly and thus
learn from them. Catherine is so inexperienced that she swallows
everything she reads uncritically. Henry will help to teach her the need
for critical reading and the perception of meanings beyond the
surfaces of life, which is the essence of irony. He himself, however,
sometimes fails to maintain the rationally correct detached
perspective of irony. As soon as he descends into an uncritical
acceptance of ideology (as he does in the oft-quoted "‘Remember that
we are English’" speech), he becomes the object of the narrator’s
irony, just as Catherine was earlier because of her uncritical
acceptance of Gothic. Both Henry and Catherine must learn a second
lesson, that "real" English characters can be worse than romanticized
Gothic ones. General Tilney’s behavior after he learns that Catherine is
not wealthy is reprehensible, but not Gothic (it is mercenary but not
supernaturally one-sided). Thus the novel’s attack on the
exaggerations of romance remains in place, but the characters learn
that realism is more frightening than romance, and that ironic
perception must be applied even to the political assumptions that
seem "safe" and "realistic." Catherine’s Gothic sensibility (which
depends on an instinctive morality of sentiment) is not wrong, but
merely incomplete without the balancing intellectual perspective of
irony.
The problem with Gothic novels is not necessarily a moral one, and the
ability to be ironic is not a moral skill. In fact, Catherine’s romantic
temperament, her "intuition," is right in all her basic judgments, as
many critics have pointed out. Her moral compass remains essentially
unchanged throughout the novel: just as she instinctively refuses to
renege on a promise as a matter of principle in something so trivial as
a social engagement (101), later she will unerringly divine that
General Tilney is an unsavory character. The General is not merely a
domestic autocrat, but a tyrant of the same sort as the French
revolutionaries that Gothic novels always draw on as the subtext of
their xenophobic horrors, as Shinobu Minma argues in "General Tilney
and Tyranny" (504-510). Catherine’s intuitive goodness is therefore
political as well as moral. Austen consistently portrays Catherine’s
politico-moral instincts as innate, or even genetic. At the end of the
novel her parents judge Henry Tilney in exactly the same way she has
judged people throughout the novel, with "[g]ood-will supplying the
place of experience" (249). Learning to think ironically will not make
Catherine moral. Isabella Thorpe, who is arch in every word she
speaks, and never really means what she says, is not a better person
because she can perceive irony. In fact, if Isabella truly understood the
novels she claims to read, she might be made a better person, since
Gothic novels, despite their one-sidedness, usually portray sincere
sentimentality as a heroine’s source of virtue. Radcliffe’s novels (the
most prominent Gothics in Northanger) perfectly illustrate the doctrine
of sensibility, that morality proceeds from instinctive sympathy with
others. Innate sensibility is the one trait of Gothic heroinehood that
Catherine Morland really does possess.
"If I understand you rightly, you had formed a surmise of such horror
as I have hardly words to—Dear Miss Morland, consider the dreadful
nature of the suspicions you have entertained. What have you been
judging from? Remember the country and the age in which we live.
Remember that we are English, that we are Christians. Consult your
own understanding, your own sense of the probable, your own
observation of what is passing around you - Does our education
prepare us for such atrocities? Do our laws connive at them? Could
they be perpetrated without being known, in a country like this, where
social and literary intercourse is on such a footing; where every man is
surrounded by a neighbourhood of voluntary spies, and where roads
and newspapers lay every thing open? Dearest Miss Morland, what
ideas have you been admitting?" (197-98)
Here his assumptions are clear. One can only properly appreciate the
Gothic if one understands that it is not to be taken as a delineation of
the English character, but of the depraved human nature to be found
elsewhere. English society is different (it is "a country like this" to
distinguish it from that), and superior.
Henry Tilney, like Catherine, must learn this further lesson, that
nationalism is just as unrealistic as romance. Neither of them
understands that English human nature might contain some of the
same impulses as those found in the Alps. The goal of the novel
according to Austen is to teach the ability to deal with the people one
encounters in everyday life, and thus both Henry and Catherine need
a lesson in realistic pessimism.The discovery of the General’s
mercenary nature provides the dash of cold water they need. Henry is
just as disillusioned and humiliated by his father’s behavior at the end
of the novel as Catherine was earlier by his reproof of her—"Henry, in
having such things to relate of his father, was almost as pitiable as in
their first avowal to himself. He blushed for the narrow-minded
counsel which he was obliged to expose" (247). Henry learns that he
ought to have taken into account commonplace English behavior
founded on greed or misplaced pride before dismissing all villainy as
foreign. Surely the thought of his own earlier confidence in his
supremely English family contributes to Henry’s embarrassment.
Works Cited