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Excerpt

Excerpt from Northanger Abbey, by Jane Austen

This little work was finished in the year 1803, and intended for
immediate publication. It was disposed of to a bookseller, it was even
advertised, and why the business proceeded no farther, the author has
never been able to learn. That any bookseller should think it
worth-while to purchase what he did not think it worth-while to publish
seems extraordinary. But with this, neither the author nor the public
have any other concern than as some observation is necessary upon those
parts of the work which thirteen years have made comparatively
obsolete. The public are entreated to bear in mind that thirteen years
have passed since it was finished, many more since it was begun, and
that during that period, places, manners, books, and opinions have
undergone considerable changes.

CHAPTER 1

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. Her father was a clergyman, without being
neglected, or poor, and a very respectable man, though his name was
Richard—and he had never been handsome. He had a considerable
independence besides two good livings—and he was not in the least
addicted to locking up his daughters. Her mother was a woman of useful
plain sense, with a good temper, and, what is more remarkable, with a
good constitution. She had three sons before Catherine was born; and
instead of dying in bringing the latter into the world, as anybody
might expect, she still lived on—lived to have six children more—to see
them growing up around her, and to enjoy excellent health herself. A
family of ten children will be always called a fine family, where there
are heads and arms and legs enough for the number; but the Morlands had
little other right to the word, for they were in general very plain,
and Catherine, for many years of her life, as plain as any. She had a
thin awkward figure, a sallow skin without colour, dark lank hair, and
strong features—so much for her person; and not less unpropitious for
heroism seemed her mind. She was fond of all boys’ plays, and greatly
preferred cricket not merely to dolls, but to the more heroic
enjoyments of infancy, nursing a dormouse, feeding a canary-bird, or
watering a rose-bush. Indeed she had no taste for a garden; and if she
gathered flowers at all, it was chiefly for the pleasure of mischief—at
least so it was conjectured from her always preferring those which she
was forbidden to take. Such were her propensities—her abilities were
quite as extraordinary. She never could learn or understand anything
before she was taught; and sometimes not even then, for she was often
inattentive, and occasionally stupid. Her mother was three months in
teaching her only to repeat the “Beggar’s Petition”; and after all, her
next sister, Sally, could say it better than she did. Not that
Catherine was always stupid—by no means; she learnt the fable of “The
Hare and Many Friends” as quickly as any girl in England. Her mother
wished her to learn music; and Catherine was sure she should like it,
for she was very fond of tinkling the keys of the old forlorn spinnet;
so, at eight years old she began. She learnt a year, and could not bear
it; and Mrs. Morland, who did not insist on her daughters being
accomplished in spite of incapacity or distaste, allowed her to leave
off. The day which dismissed the music-master was one of the happiest
of Catherine’s life. Her taste for drawing was not superior; though
whenever she could obtain the outside of a letter from her mother or
seize upon any other odd piece of paper, she did what she could in that
way, by drawing houses and trees, hens and chickens, all very much like
one another. Writing and accounts she was taught by her father; French
by her mother: her proficiency in either was not remarkable, and she
shirked her lessons in both whenever she could. What a strange,
unaccountable character!—for with all these symptoms of profligacy at
ten years old, she had neither a bad heart nor a bad temper, was seldom
stubborn, scarcely ever quarrelsome, and very kind to the little ones,
with few interruptions of tyranny; she was moreover noisy and wild,
hated confinement and cleanliness, and loved nothing so well in the
world as rolling down the green slope at the back of the house.

Explanation

**Detailed Explanation of the Excerpt from Northanger Abbey by Jane Austen**

This passage is the opening of Northanger Abbey (1817), Jane Austen’s satirical novel that parodies Gothic fiction while exploring themes of imagination, maturity, and the contrast between reality and fantasy. The excerpt introduces the protagonist, Catherine Morland, in a way that deliberately subverts the conventions of heroic literature, particularly the Gothic novels popular in Austen’s time (e.g., Ann Radcliffe’s The Mysteries of Udolpho). Below is a close analysis of the text, focusing on its tone, characterization, literary devices, themes, and significance.

1. Context of the Excerpt

Publication History: The preface explains that Austen wrote Northanger Abbey in 1803 (originally titled Susan), but it was not published until 1817, posthumously. The delay was due to a bookseller (likely Crosby & Co.) purchasing the manuscript but never printing it—a frustration Austen wryly notes.
Gothic Satire: The novel mocks the melodramatic tropes of Gothic fiction, where heroines are typically beautiful, delicate, and beset by dark mysteries. Catherine, by contrast, is ordinary, clumsy, and unheroic, making her an anti-heroine.
Social Realism: Unlike Gothic novels, which feature castles and villains, Austen grounds her story in everyday English life, focusing on manners, family, and personal growth.

2. Tone and Narrative Style

Austen’s tone is ironic, humorous, and self-aware, using:

Dramatic Irony: The narrator pretends to lament Catherine’s unsuitability as a heroine while actually celebrating her normalcy.
- "No one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine."
- The exaggerated disappointment ("what a strange, unaccountable character!") underscores how ridiculous Gothic heroine standards are.
Understatement & Hyperbole:
- "Her father was a clergyman, without being neglected, or poor" → A deliberately mundane description, contrasting with Gothic heroes who are often aristocratic or doomed.
- "She had a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features" → Anti-romantic physical traits, the opposite of a Gothic beauty.
Direct Address to the Reader:
- "The public are entreated to bear in mind that thirteen years have passed..." → Austen breaks the fourth wall, acknowledging the novel’s delayed publication and societal changes.

3. Characterization of Catherine Morland

Catherine is deliberately unheroic, defying Gothic and romantic expectations:

Physical Appearance:
- "Very plain" (not beautiful like Gothic heroines).
- "Thin awkward figure, sallow skin, dark lank hair" → Unflattering, almost comical description.
Personality Traits:
- Tomboyish & Mischievous: Prefers "cricket" and "rolling down the green slope" over "nursing a dormouse" (a cliché of feminine delicacy).
- Unaccomplished: Fails at music, drawing, and languages—unlike the accomplished young ladies of romance novels.
- Stubborn but Kind: "She had neither a bad heart nor a bad temper" → Despite her flaws, she is morally good, just not conventionally heroic.
Intellectual Limitations:
- "She never could learn or understand anything before she was taught; and sometimes not even then."
- "Her mother was three months in teaching her only to repeat the ‘Beggar’s Petition’; and after all, her next sister, Sally, could say it better." → Austen mocks the idea of the "naturally brilliant" heroine; Catherine is average, even slow at times.

Why This Matters: Austen is deconstructing the heroine archetype. Gothic novels (like The Mysteries of Udolpho) featured passive, sensitive, and ethereal women who fainted at danger. Catherine, however, is active, clumsy, and resilient—a realistic young woman, not a fantasy.

4. Themes in the Excerpt

A. Reality vs. Fantasy

Gothic novels thrived on exaggeration (haunted castles, villainous monks, fainting heroines). Austen grounds her story in realism:
- Catherine’s family is middle-class, healthy, and unremarkable (no dark secrets, no tragic pasts).
- Her childhood is messy and ordinary (rolling in the grass, disliking lessons).
The novel will later explore how Catherine’s overactive imagination (fueled by Gothic novels) distorts her perception of reality.

B. The Absurdity of Heroic Conventions

Austen mocks the clichés of heroism:
- "Her mother... instead of dying in bringing the latter into the world, as anybody might expect, she still lived on." → In Gothic fiction, mothers often die in childbirth (e.g., Jane Eyre’s mother). Mrs. Morland’s survival is deliberately anti-climactic.
- "She was fond of all boys’ plays, and greatly preferred cricket to dolls." → Gothic heroines are delicate and feminine; Catherine is rowdy and unladylike.

Catherine’s lack of accomplishments (music, drawing, French) critiques the pressure on women to be "accomplished" (a theme in Austen’s Emma and Pride and Prejudice).
Her disinterest in feminine pursuits (gardening, dolls) challenges gender norms of the time.

Austen’s preface notes that 13 years have passed since writing, implying that manners, books, and opinions have changed.
This foreshadows how Catherine’s naïve Gothic fantasies will clash with the real world (especially in Bath and Northanger Abbey).

5. Literary Devices

Device	Example	Effect
Irony	"What a strange, unaccountable character!" (about an ordinary girl)	Highlights how unrealistic Gothic heroines are.
Parody	Describing Catherine’s lack of heroic traits in a mock-epic style.	Satirizes Gothic and romantic clichés.
Antithesis	"She was seldom stubborn, scarcely ever quarrelsome" vs. "noisy and wild"	Shows her contradictory but human nature.
Hyperbole	"The day which dismissed the music-master was one of the happiest of Catherine’s life."	Emphasizes her relief at escaping forced femininity.
Free Indirect Discourse	"She learnt a year, and could not bear it" → Blends narrator’s voice with Catherine’s feelings.	Makes the narration intimate and humorous.

6. Significance of the Passage

Introduction to Austen’s Satire:
- The opening sets up Northanger Abbey as a comedy of manners that parodies Gothic excess.
- Catherine’s ordinariness makes her relatable, unlike the unrealistic heroines of sensational novels.
Foreshadowing Catherine’s Growth:
- Her imagination and love of Gothic stories (hinted at by her mischievous nature) will lead her to misinterpret reality later in the novel.
- Her kindness and resilience (despite her flaws) suggest she will mature by the end.
Critique of Women’s Roles:
- Austen challenges the idea that women must be delicate, accomplished, or passive.
- Catherine’s rejection of forced femininity (music, drawing) is subversive for the time.
Metafictional Commentary:
- The preface and opening draw attention to the act of writing itself, making the reader aware of literary conventions and how Austen plays with them.

7. Connection to the Rest of the Novel

Catherine’s Gothic delusions will lead her to misread situations (e.g., suspecting General Tilney of murdering his wife).
Her journey from naivety to self-awareness mirrors Austen’s broader critique of sensationalism vs. reality.
The novel ultimately validates ordinary life over Gothic fantasy, with Catherine learning to distinguish fiction from truth.

Conclusion: Why This Excerpt Matters

This opening is brilliant in its subversion. By presenting Catherine as the antithesis of a heroine, Austen:

Satirizes Gothic literature and its unrealistic portrayals of women.
Celebrates the ordinary, suggesting that real life is more interesting than melodrama.
Sets up a coming-of-age story where Catherine must confront her own imagination.

Austen’s wit, irony, and social insight make this passage not just an introduction to a character, but a commentary on literature itself—one that remains fresh and funny over 200 years later.

Would you like a deeper dive into any specific aspect (e.g., Gothic parody, Catherine’s development, or Austen’s narrative techniques)?

Questions

Question 1

The narrator’s description of Catherine Morland’s childhood—particularly the emphasis on her "thin awkward figure," "sallow skin," and preference for "cricket" over "nursing a dormouse"—primarily serves to:

A. establish a realistic portrait of rural English girlhood in the late 18th century, grounded in historical accuracy.
B. subvert the romantic and Gothic literary conventions that idealize heroines as delicate, beautiful, and passive.
C. critique the Morland family’s neglect of Catherine’s feminine development, implying a failure of parental guidance.
D. foreshadow Catherine’s eventual transformation into a conventional heroine through moral and physical refinement.
E. highlight the narrator’s unreliable perspective, which exaggerates Catherine’s flaws for comedic effect at the expense of fairness.

Question 2

The preface’s observation that "thirteen years have made comparatively obsolete" parts of the work most strongly suggests that Austen is:

A. apologizing for the novel’s anachronisms, which she fears will alienate contemporary readers.
B. acknowledging the inferiority of her early writing style compared to her later, more mature works.
C. implying that the delays in publication were due to the manuscript’s poor quality, which required extensive revision.
D. engaging in meta-commentary on how societal and literary norms shift over time, affecting the reception of fixed texts.
E. subtly criticizing the bookseller’s incompetence, which prevented the novel from being updated to reflect modern tastes.

Question 3

When the narrator states that Catherine "never could learn or understand anything before she was taught; and sometimes not even then," the tone is best described as:

A. condemnatory, aligning with 18th-century pedagogical theories that attributed intellectual failure to moral weakness.
B. resigned, reflecting the limited educational opportunities available to women of Catherine’s social class.
C. affectionately ironic, undermining the expectation that heroines must be naturally brilliant or quick-witted.
D. clinically detached, presenting Catherine’s intellectual limitations as an objective psychological case study.
E. defensive, preemptively dismissing potential criticism of Catherine’s lack of academic achievement.

Question 4

The narrator’s remark that "a family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number" primarily functions as:

A. a critique of the Malthusian anxieties about overpopulation in late Georgian England.
B. a reinforcement of the idea that physical health and numerical abundance are the sole criteria for familial worth.
C. a wry undercutting of romanticized notions of family, reducing the concept to mere biological functionality.
D. an indirect compliment to the Morlands’ parenting, which ensured their children’s physical robustness despite modest means.
E. a transition to the theme of inheritance, suggesting that large families dilute financial and social capital.

Question 5

The passage’s cumulative effect—particularly its juxtaposition of Catherine’s "profligacy at ten years old" with her "kind" treatment of younger siblings—is to:

A. illustrate the arbitrary nature of moral judgment, where societal expectations conflict with individual goodness.
B. propose that childhood mischief is a necessary precursor to adult virtue, a theme central to Bildungsroman traditions.
C. argue that Catherine’s lack of conventional femininity is compensated by her innate moral superiority.
D. create a paradoxical portrait of a character who defies easy categorization, embodying both chaos and compassion.
E. suggest that Catherine’s rebelliousness is a performative rejection of gender norms rather than a genuine personality trait.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The passage’s exaggerated focus on Catherine’s unheroic traits—her plainness, tomboyishness, and intellectual mediocrity—is a direct parody of Gothic and romantic heroines, who are typically beautiful, delicate, and accomplished. Austen’s irony underscores the absurdity of these conventions, making B the most defensible answer. The narrator’s tone is playfully subversive, not historical (A), critical of parenting (C), foreshadowing (D), or unreliable (E).