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 fun tale of the way a naive woman enters society and wins the love of a witty younger clergyman, and a high-spirited parody of the lurid Gothic novels that have been renowned in the course of Austen's adolescence. within the strategy it incorporates a brilliant account of social existence in overdue eighteenth-century tub, and Austen's recognized defence of the unconventional as a literary shape. This version, in line with the textual content of the unconventional as released posthumously in 1818, is followed 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. additionally there's an intensive serious advent masking the context, ebook, and demanding historical past of the unconventional, a chronology of Austen's existence, and authoritative textual equipment.
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Extra resources for Northanger Abbey (The Cambridge Edition of the Works of Jane Austen)
Austen-Leigh repeats the family claims that his aunt preferred the works of Johnson, Cowper and Crabbe to most novels, apart from Sir Charles Grandison and those of Maria Edgeworth, thus once again marginalising Northanger Abbey and indeed linking it with her teenage writings: 40 41 Julia Kavanagh, English Women of Letters (Leipzig: Bernhard Tauchnitz, 1862), vol. 2, pp. 251–74. Englishwoman’s Domestic Magazine (1866) vol. 3, series 2, pp. 238–9, 278–82. xlvi Introduction Instead of presenting faithful copies of nature, these tales [the later juvenilia] were generally burlesques, ridiculing the improbable events and exaggerated sentiments which she had met with in sundry silly romances.
64 A final approach to the representation of education in the novel addresses the way Northanger Abbey affects the reader. 65 Many critics find that the naive reader is ultimately the book’s target as Austen reverses readers’ expectations by turning an unheroic protagonist into a heroine, and a workaday reality into a network of gothic horrors. 66 Readers thus learn to distrust the apparently simple oppositions between fantasy and reality, literature and history, the Thorpes and the Tilneys and Bath and Northanger.
561–2. G. O. Trevelyan, The Life and Letters of Lord Macaulay (Oxford: Oxford University Press, 1961), vol. 2, p. 307. Fraser’s Magazine for 1847, vol. 36, p. 687. The Leader, 22 November 1851, p. 115. ’35 In 1855 Elizabeth Barrett Browning, too, was unenthusiastic: ‘[Miss Mitford] never taught me anything but a very limited admiration of Miss Austen, whose people struck me as wanting souls, even more than is necessary for men & women of the world. The novels are perfect as far as they go—that’s certain.