Jane Austen, from Northanger Abbey

Northanger Abbey, not published until 1818, a year after Jane Austen's death, was written in the later 1790s, the decade of four of Ann Radcliffe's widely read Gothic works, beginning with A Sicilian Romance (1790) and The Romance of the Forest (1791). Austen's heroine, Catherine Morland, is a wide-eyed reader of Radcliffe's books — much given, therefore, to romantic fantasizing — and the novel recounts her coming to understand, belatedly, the difference between such fiction and the reality of everyday life. In the excerpt below, from volume 2, chapter 5, Catherine and Henry Tilney are approaching the ancient abbey, the Tilney family seat, and Henry teasingly provides a description that is a composite of details from Radcliffe's novels, "just like what one reads about."

For Austen's principal sources, see, in this topic, the extracts from Radcliffe's Romance of the Forest and The Mysteries of Udolpho. Catherine is the first speaker in this dialogue.

From Volume 2, Chapter 5

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"You must be so fond of the abbey! — After being used to such a home as the abbey, an ordinary parsonage-house must be very disagreeable."

He smiled, and said, "You have formed a very favourable idea of the abbey."

"To be sure I have. Is not it a fine old place, just like what one reads about?"

"And are you prepared to encounter all the horrors that a building such as 'what one reads about' may produce? — Have you a stout heart? — Nerves fit for sliding panels and tapestry?"

"Oh! yes — I do not think I should be easily frightened, because there would be so many people in the house — and besides, it has never been uninhabited and left deserted for years, and then the family come back to it unawares, without giving any notice, as generally happens."

"No, certainly. — We shall not have to explore our way into a hall dimly lighted by the expiring embers of a wood fire — nor be obliged to spread our beds on the floor of a room without windows, doors, or furniture. But you must be aware that when a young lady is (by whatever means) introduced into a dwelling of this kind, she is always lodged apart from the rest of the family. While they snugly repair to their own end of the house, she is formally conducted by Dorothy the ancient housekeeper up a different staircase, and along many gloomy passages, into an apartment never used since some cousin or kin died in it about twenty years before. Can you stand such a ceremony as this? Will not your mind misgive you, when you find yourself in this gloomy chamber — too lofty and extensive for you, with only the feeble rays of a single lamp to take in its size — its walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funereal appearance. Will not your heart sink within you?"

"Oh! but this will not happen to me, I am sure."

"How fearfully will you examine the furniture of your apartment! — And what will you discern? — Not tables, toilettes, wardrobes, or drawers, but on one side perhaps the remains of a broken lute, on the other a ponderous chest which no efforts can open, and over the fire-place the portrait of some handsome warrior, whose features will so incomprehensibly strike you, that you will not be able to withdraw your eyes from it. Dorothy meanwhile, no less struck by your appearance, gazes on you in great agitation, and drops a few unintelligible hints. To raise your spirits, moreover, she gives you reason to suppose that the part of the abbey you inhabit is undoubtedly haunted, and informs you that you will not have a single domestic within call. With this parting cordial she curtseys off — you listen to the sound of her receding footsteps as long as the last echo can reach you — and when, with fainting spirits, you attempt to fasten your door, you discover, with increased alarm, that it has no lock."

"Oh! Mr. Tilney, how frightful! — This is just like a book! — But it cannot really happen to me. I am sure your housekeeper is not really Dorothy. — Well, what then?"

"Nothing further to alarm perhaps may occur the first night. After surmounting your unconquerable horror of the bed, you will retire to rest, and get a few hours' unquiet slumber. But on the second, or at farthest the third night after your arrival, you will probably have a violent storm. Peals of thunder so loud as to seem to shake the edifice to its foundation will roll round the neighbouring mountains — and during the frightful gusts of wind which accompany it, you will probably think you discern (for your lamp is not extinguished) one part of the hanging more violently agitated than the rest. Unable of course to repress your curiosity in so favourable a moment for indulging it, you will instantly arise, and throwing your dressing-gown around you, proceed to examine this mystery. After a very short search, you will discover a division in the tapestry so artfully constructed as to defy the minutest inspection, and on opening it, a door will immediately appear — which door being only secured by massy bars and a padlock, you will, after a few efforts, succeed in opening, — and, with your lamp in your hand, will pass through it into a small vaulted room."

"No, indeed; I should be too much frightened to do any such thing."

"What! not when Dorothy has given you to understand that there is a secret subterraneous communication between your apartment and the chapel of St. Anthony, scarcely two miles off — Could you shrink from so simple an adventure? No, no, you will proceed into this small vaulted room, and through this into several others, without perceiving anything very remarkable in either. In one perhaps there may be a dagger, in another a few drops of blood, and in a third the remains of some instrument of torture; but there being nothing in all this out of the common way, and your lamp being nearly exhausted, you will return towards your own apartment. In repassing through the small vaulted room, however, your eyes will be attracted towards a large, old-fashioned cabinet of ebony and gold, which, though narrowly examining the furniture before, you had passed unnoticed. Impelled by an irresistible presentiment, you will eagerly advance to it, unlock its folding doors, and search into every drawer; — but for some time without discovering anything of importance — perhaps nothing but a considerable hoard of diamonds. At last, however, by touching a secret spring, an inner compartment will open — a roll of paper appears: — you seize it — it contains many sheets of manuscript — you hasten with the precious treasure into your own chamber, but scarcely have you been able to decipher 'Oh! thou — whomsoever thou mayst be, into whose hands these memoirs of the wretched Matilda may fall' — when your lamp suddenly expires in the socket, and leaves you in total darkness."

"Oh! no, no — do not say so. Well, go on."

But Henry was too amused by the interest he had raised, to be able to carry it farther; he could no longer command solemnity either of subject or voice, and was obliged to entreat her to use her own fancy in the perusal of Matilda's woes. Catherine, recollecting herself, grew ashamed of her eagerness, and began earnestly to assure him that her attention had been fixed without the smallest apprehension of really meeting with what he related. "Miss Tilney, she was sure, would never put her into such a chamber as he had described! — She was not at all afraid."

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