Feminist Themes in Northanger Abbey

In Jane Austen’s novel, Northanger Abbey, we witness the masterful use of understatement and irony in the portrayal of Austen’s leading character, Catherine Morland. Catherine stands as a modest, genuine, and kindhearted heroine who, despite her naivety, often misinterprets the intricacies of the social world that surrounds her. In stark contrast, Isabella Thorpe emerges as a self-seeking, manipulative individual with questionable morals and values, illustrating the diverse spectrum of female characters in Austen's narrative.

Henry Tilney, who eventually becomes Catherine's romantic interest, spends considerable time educating her about the social customs she is unaware of.

Yet, intriguingly, he also uses his knowledge of these norms to manipulate her, presenting a complex dynamic between the two characters. This relationship highlights the societal expectations placed upon women during Austen's time and the subtle manipulations they often faced.

Catherine harbors a deep desire to embody the traits of a Gothic heroine, spurred by her avid consumption of gothic novels. Austen suggests that Catherine lacks the conventional attributes of such heroines and is rather unexceptional by societal standards. However, as the novel progresses, Catherine reveals extraordinary qualities, marking her as a feminist figure ahead of her time. Feminism, defined as the advocacy for equality of the sexes and the establishment of political, social, and economic rights for women, resonates with Catherine’s journey.

Narrative Empowerment

Austen employs her narrative prowess as a tool for empowerment, not only for herself but also for women in a patriarchal society. Her use of ironic understatement is evident from the novel’s opening line: “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” (Austen 15). In reality, Catherine is an exceptional character, pure and embodying the essence of a true woman. Henry falls in love with her, valuing her heart's innocence and candidness about life over societal norms.

Typical Gothic heroines are depicted as young, fearful, and helpless in perilous situations, often trapped by malevolent male figures. Such characters rarely experience development or a coming-of-age journey, unlike Catherine, who matures significantly throughout the novel. Regina Roche’s Clermont presents a stereotypical Gothic heroine: “She was delicately made…her eyes, large and of the darkest hazel, ever true to the varying emotion of her soul…gave an expression of the greatest innocence to her face” (Roche 8), depicting a timid, innocent, and fragile woman.

In contrast, Catherine’s character undergoes significant growth. Her upbringing, surrounded by brothers and engaging in activities like cricket and horse riding rather than traditional feminine pursuits, shapes her into a solid young woman. Joanne Cordn notes, “Having escaped the traditional pursuits for girls, Catherine has not been warped into an artificial social female and grows into a solid young woman” (Cordn 5). This divergence from societal expectations sets the stage for her development as a feminist heroine.

Catherine's Feminist Journey

One of the primary arguments for Catherine’s role as an unlikely Gothic heroine, as suggested by Widmark, is her capacity for growth and maturity, a trait absent in typical Gothic heroines. Her education begins in Bath, marking her first experience away from her family. Here, she encounters the Thorpes, whose deceit serves as a harsh lesson in the duplicity of human nature. Catherine’s innate virtue and honesty make such manipulation foreign to her, but she gradually perceives Isabella’s true nature.

The social milieu of Bath initially disappoints Catherine, for it is filled with shallow and uninteresting individuals. However, through her interactions with Henry Tilney, she begins to decipher the social nuances of her environment. The narrative takes a significant turn when Catherine is invited to Northanger Abbey, mistakenly thought to be an heiress. Her imagination, fueled by Gothic novels, leads her to suspect General Tilney of murder, an assumption she later regrets. This humbling experience teaches Catherine to temper her imagination, marking a pivotal moment in her maturation.

Catherine’s journey is marked by her independence and ability to learn from past mistakes, distinguishing her from a typical Gothic heroine. Her parents welcome her return as a transformed young woman, matured beyond her childish fantasies. Almost every character in Northanger Abbey influences Catherine, each embodying aspects of a Gothic heroine. Henry Tilney’s role as her mentor, Isabella’s desperate pursuit of wealth through marriage, and Eleanor Tilney’s passive demeanor all contribute to Catherine’s development.

Defying Patriarchy

General Tilney, the novel’s villain, attempts to thwart Catherine and Henry’s love due to her lack of wealth, embodying the patriarchal antagonist. Yet, Catherine prevails over his machinations, a testament to her resilience and feminist spirit. Devoney Looser advocates for a fresh perspective on feminist scholarship, suggesting a focus on gender politics within Austen’s novels. Helene Cixous’s concept of “écriture féminine,” a feminine writing style challenging misogynistic norms, offers an underexplored approach to the feminist dimensions of Austen’s heroine (Cordn 2).

Catherine operates in a society that prefers women to remain silent, akin to a Gothic heroine. Nevertheless, she expresses her thoughts and emotions candidly, embodying the essence of feminism. Her remarkable qualities not only make her stand out but also transform Henry Tilney, challenging his perceptions within their cultural constraints. Cordn asserts, “Miss Morland’s speech shows the possible transformative reverberations of Cixous’s insight, for Catherine’s language lets her navigate the whole matrix of social power” (Cordn 4).

Austen’s intention in employing feminine language in her writing is to empower women to find their voice. Margaret Lenta describes married women during Austen’s era as “legal infants, under the guardianship of their husbands, and unable to attain adult status” (Lenta 1). Austen’s work transcends the limitations imposed on her gender, showcasing the world as it presents itself to women. This perspective allows readers to critically assess male characters, such as John Thorpe, through a female lens.

In Northanger Abbey, Austen portrays the world through Catherine’s eyes, conveying the realities of a masculine society and its impact on women. Ka Yan Lam highlights the influence of female authorship on the development of Catherine’s character, reflecting the constraints faced by women writers of Austen’s time. Robyn Warhol’s feminist narratology emphasizes the importance of narrative structures and strategies in the context of gender constructions, offering insight into Austen’s narrative practice (Lam 4).

Austen’s use of understatement, as argued by Claudia L. Johnson, serves to minimize the authoritative voice of female authors, evident in the novel’s opening line. This narrative strategy underscores Austen’s self-awareness in her writing, as she shifts from describing Catherine as “not remarkable” to highlighting her positive traits as she matures. Catherine’s inner beauty and individuality, untouched by male-dominated society, render her a gem within the novel.

Catherine Morland defies the typical Gothic heroine trope, embodying the real-life challenges and triumphs of young women entering society. Despite societal obstacles, she emerges as a feminist icon, demonstrating independence, resilience, and grace. Her journey reflects the broader struggles of women during Austen’s time, making her a timeless and compelling character in literary history.

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