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• W290464712 abstract "[W]hen you have finished Udolpho, we will read Italian together; and I have made out a list ten or twelve more same kind for you. Have you, indeed! How glad I am!--What are they all? Castle Wolfenbach, Clermont, Mysterious Warnings, Necromancer Black Forest, Midnight Bell, Orphan Rhine, and Horrid Mysteries. Those will last us some time. Yes, ... but are they all horrid, are you sure they are all horrid? Yes, quite sure. (NA 40) DURING THIS CONVERSATION WITH ISABELLA THORPE, Catherine Morland, heroine Jane Austen's Northanger Abbey, reveals her intense infatuation Gothic novels and suggests their ability to instill horror in reader. Despite Catherine's palpable enthusiasm for these horrid novels, for many years readers believed that Isabella Thorpe's list was a mere product Jane Austen's vivid imagination. In 1901, however, John Louis Haney informed editors Modern Language Notes that while [i]t might be supposed that Miss Austen, in her evident satire Udolpho class fiction, invented above suggestive titles, ... [a]s a matter fact, they were all actual romances which appeared at London between 1793-1798 (446). This revelation should have been catalyst for countless studies regarding these novels' connections to and influences on Northanger Abbey, but they remained largely overlooked, fading into shadows literature. Perhaps due to limited availability, these horrid novels languished in relative obscurity until Michael Sadleir presented The Northanger Novels: A to Jane to English Association in Westminster School Hall in 1927. Sadleir addressed Austen's motives for choosing these specific novels for her Gothic tale: it seems probable that spinster-genius had ... actually more pleasure and even profit from Gothic romance.... [C]ertainly a woman her sympathy and perception--however ready she may have been publicly to make fun excesses a prevailing chic--would in her heart have given to that chic as much credit for its qualities as mockery for its absurdities. (3) He concluded that Northanger Abbey parodied Gothic genre but also subtly acknowledged its tropes and gave tribute to talents its writers, and he proposed Austen's selection of Gothic novels was rather deliberate than random, [and] was made for stories' rather than for their titles' sake (9). For, as Haney's 1901 letter also noted, the lists New Publications, printed by several reviews about end eighteenth century, will verify fact that Jane Austen could have made her satirical array titles even more ridiculous without drawing upon imagination (447). While titles these seven novels may have added some sense foreboding to effect Austen attempted to create, her selection was certainly not most terrifying compendium. One must conclude, therefore, that Austen had another purpose for selecting these particular novels from vast array available to her. Sadleir's Footnote offers one possible explanation for Austen's choices. He noted that within limits that brief selection are found three or four distinct 'make-ups,' assumed by novelists day for greater popularity their work: sensibility romances, pseudo-German terror novels, and mock-autobiographies (9). As Austen's personal correspondence reveals, she was a great novel-reader[] (18 December 1798); hence, she would have been familiar various types novels with which press now groans (NA 37). Perhaps she simply wished to acknowledge diverse categories into which this genre was divided, and her brief list provides an excellent sampling novels available to her contemporaries. After examining each novels, Sadleir concluded that the fortunate variety Northanger Novels . …" @default.
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• W290464712 title "Regina Maria Roche's Horrid Novel: Echoes of Clermont in Jane Austen's Northanger Abbey" @default.
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