Realism Or Romance

The realistic novel emerged as a genre that emphasized the depiction of reality and rational philosophy, serving as a counter-response to the romantic or "gothic" novel, which was known for its sensationalist escapism. In stark contrast to the poetic and dreamlike language of romanticism, the diction in realistic novels tends to be more straightforward and natural, often incorporating elements of satire or dialogue. While realism generally prioritizes character study over plot development and lacks the extraordinary events typical of gothic novels, Jane Austen’s Northanger Abbey uniquely blends elements of both realism and romanticism, creating a multifaceted narrative that explores the tension between these two literary styles.

Realistic Elements in Austen’s Narrative

Austen’s skillful use of dialogue and satire, alongside the portrayal of mundane events, underscores the realistic aspects of Northanger Abbey. Unlike the ornate, romantic language employed by authors like Pope, Grey, and Thompson, Austen opts for straightforward dialogue to convey her characters' interactions. For instance, the exchanges between Henry Tilney and Catherine Morland are predominantly composed of dialogue, relying on their spoken words to advance the narrative rather than extensive narrative descriptions. Through techniques like tone and free indirect discourse, Austen provides readers with insight into the characters’ inner thoughts, which are crucial to the development of the story. In one notable scene, Catherine’s exploration of the Abbey is filled with characteristic sounds that lead her to feel as though “she really [is] in an Abbey” (138). This moment reveals Catherine’s misconceptions about Northanger Abbey, illustrating her expectations shaped by gothic romance. Such insights into characters’ minds allow Austen to emphasize their growth throughout the novel.

The Ordinary Heroine

The characters in Northanger Abbey, particularly Catherine, are depicted with a sense of realism that sets them apart from typical gothic romance figures. Catherine’s character is described as “strange” and “unaccountable,” primarily because she embodies none of the extraordinary traits often associated with gothic heroines; rather, she is portrayed as remarkably ordinary (4). Yet, by the end of the novel, Catherine undergoes significant maturation, demonstrating a newfound ability to discern the true nature of those around her, especially Isabella and General Tilney. Upon reading Isabella’s letter concerning her brother Frederick, Catherine recognizes the “inconsistencies, contradictions, and falsehood” in their friendship, ultimately deeming the letter “disgusting…empty, and…impudent” (182). This realization marks a pivotal moment in her character development, highlighting her increasing independence. Furthermore, her willingness to confront Henry about her dislike for Frederick showcases her growth, as she navigates the delicate dynamics of her relationships.

Moreover, when General Tilney abruptly sends Catherine home, her decision to voice her concerns to Eleanor rather than remain passive illustrates her evolving maturity. Although she admits that “it [is] with pain” she speaks up, her willingness to address the situation reflects her growing confidence and assertiveness in her relationships.

Romantic Undertones Amidst Realism

The latter half of Northanger Abbey adopts a darker tone and incorporates themes typical of gothic novels, infusing the narrative with elements of romanticism. Catherine’s fascination with gothic literature, as expressed in her discussions of Udolpho and her enthusiasm for reading with Isabella (29), reveals her idealized perception of the genre prevalent during that period. As she explores Northanger Abbey, she envisions the estate as the quintessential gothic setting, filled with dark corridors and mysterious secrets. However, her fantasies are soon dispelled when she discovers that the manor is, in fact, quite ordinary, and its inhabitants are no more remarkable than herself. When she anticipates an extraordinary adventure “just like a book” during her carriage ride to the Abbey (131), her dreams of uncovering thrilling mysteries are quickly replaced with the mundane reality of a washing bill and a deceased wife who passed away from natural causes (143). Austen cleverly positions an ordinary heroine within a seemingly gothic setting to explore the absurdities of the genre while maintaining a realistic narrative.

Satirizing the Gothic Genre

While Northanger Abbey remains fundamentally a realistic novel, it employs romantic themes to satirize the gothic genre. The realistic diction, structure, and characterizations serve as a foundation, yet Austen incorporates romantic elements to critique the conventions of gothic literature. By placing a “normal” character like Catherine in typical gothic scenarios, she subverts the tropes of extraordinary heroines experiencing unbelievable adventures. Rather than embarking on thrilling escapades, Catherine’s experiences are grounded in the ordinary. Austen’s direct references to popular novels of the time, alongside her satirical inclusion of quotes from authors like Gray, Thompson, and Pope, further emphasize this critique. These excerpts serve to illustrate Catherine’s yearning for the life of a gothic heroine through “the memories [of] these quotations” (5). Additionally, Austen addresses the practices of contemporary novelists who derided one another, highlighting the absurdity within the literary landscape of her time (25). Through this interplay of realism and romanticism, Austen crafts a narrative that not only entertains but also critiques the romantic genre and its various follies.

Conclusion

In conclusion, Jane Austen’s Northanger Abbey stands as a remarkable exploration of the interplay between realism and romanticism. By intertwining realistic character portrayals with elements of gothic fiction, Austen critiques the romantic genre while simultaneously offering a compelling narrative. The ordinary yet relatable experiences of Catherine Morland resonate with readers, allowing them to reflect on the absurdities of both gothic literature and societal expectations of women in the early 19th century. In merging these two literary styles, Austen not only creates a timeless story but also offers profound commentary on the nature of storytelling itself.

References

1. Austen, Jane. Northanger Abbey. London: 1818.

2. Gray, Thomas. Elegy Written in a Country Churchyard. London: 1751.

3. Thompson, James. The Seasons. London: 1730.

4. Pope, Alexander. The Rape of the Lock. London: 1712.

5. Shakespeare, William. Hamlet. London: 1601.