The Northanger Novels—They Give a New Meaning to the Word “Horrid”

Jane Austen, whose love for the Gothic, even by parodying it, has helped to keep the Gothic tradition alive, even inspiring new Gothic works like Pride and Prejudice and Zombies in recent years.

In Jane Austen’s Northanger Abbey (1818), the heroine Catherine Morland and her friend Isabella Thorpe delight over reading the popular Gothic novels of the 1790s. While they are busy reading Mrs. Radcliffe’s well-known The Mysteries of Udolpho (1794) and plan to go on then to her novel The Italian (1797)—two of the best-known and best-written of the Gothic novels of the period—Isabella creates a list of seven other “horrid” novels that she suggests they read. This list includes two novels by Eliza Parsons, Castle of Wolfenbach (1793) and The Mysterious Warning (1796), Clermont (1798) by Regina Maria Roche, The Necromancer; or, The Tale of the Black Forest (1794) by Ludwig Flammenberg (pseudonym of Carl Friedrich Kahlert), The Midnight Bell (1798) by Francis Lathom, The Orphan of the Rhine (1798) by Eleanor Sleath, and Horrid Mysteries (1796) by the Marquis de Grosse. Two of the novels, The Necromancer and Horrid Mysteries were translated into English from German. The others are by English authors.

Northanger Abbey is responsible for keeping the seven horrid “Northanger” novels’ memory alive.

I will not discuss here all the novels but simply make a few comments. I have been reading them as they have been reprinted by Valancourt Press (which has done us a great service by reproducing them and so many other obscure but significant literary works of the eighteenth and nineteenth centuries). Unfortunately, I read all of them other than Horrid Mysteries, which I just finished, before I had a blog so I did not write about them as I read them.

The truth is the plots of these novels are largely forgettable so I can’t comment on them other than to recall that the two novels by Parsons and Clermont by Roche were very readable. (Plot summaries of all seven novels, some brief, some extensive, can be found on Wikipedia at: https://en.wikipedia.org/wiki/Northanger_Abbey#Allusions_to_other_works by clicking on links to the individual works).The finest of the novels was, in my opinion, The Orphan of the Rhine. It is the only one I can remember any of the plot to. The title orphan is a young woman in hiding. There is also a dastardly marchese who commits several crimes but repents on his death bed—a surprisingly early form of the Gothic wanderer villain redeemed. That said, I read this novel along with my friend, Jane Austen scholar Ellen Moody, who ended up writing the introduction to the Valancourt edition, and she pointed out that the marchese is not punished for his crimes but gets off easily by dying in the end; furthermore, while he repents, the marchese is forced into his confession. As for the other novels, the plots were convoluted and not memorable and would be difficult to summarize.

But one of these novels stands out as being truly “horrid” and not because of its ability to shock but because of its horrid plotting and writing. That novel is aptly titled Horrid Mysteries, and in the introduction to the Valancourt edition, Allen Grove makes this same point, that the writing may be considered horrid. He also points out that the disparity between the novels of Radcliffe and a novel like this one shows how undiscerning the reading public was in its desire for Gothic thrills.

Horrid Mysteries is the most convoluted if not the overall most horridly written of the Northanger novels.

Horrid Mysteries has a ridiculous, convoluted, and often hard-to-follow plot about a young man named Carlos who gains the attention of a secret society, the Illuminators in Bavaria. He is initiated into their rites but while they claim to be on his side, they continually seem to be working against him. He is often pursued or harassed as well by a creature named Amanuel (his name is always italicized), who seems to be some sort of spirit or “genius”—an evil spirit apparently, although at times Amanuel seems to act to save Carlos’ life when he is in favor with the secret society. (Amanuel ends up killed in the end so just how supernatural he is isn’t clear.) Carlos goes through no end of adventures, including loving Elmira, who ends up dying and being buried, only to show up later alive—the secret society allegedly faked her death. Later, Elmira is shot and again dies before Carlos’ eyes, only to return yet again. Finally, she dies and stays dead. Carlos ends up with another wife later, Adelheid, who gets him back into the secret society’s good graces—or is working for the secret society against him since she ends up having an affair with a baron associated with the society whom Carlos kills when he catches them together. Carlos then sends Adelheid to a convent to repent for her sins until she is worthy of him again. Eventually, she returns to him and Carlos is finally told he is safe from the society because the police investigated the baron’s murder, which caused the society to disband. Through four volumes, we follow these and Carlos’ other escapades across Europe, watching him often have romances with various women or spend time with male friends who are romancing women or have attractive wives who want to romance Carlos.

While there are secret societies in the novel, there’s only one really haunted castle scene, and overall, Horrid Mysteries is more of a picaresque novel of a young man’s adventures in the style of Tom Jones than a Gothic one. Indeed, it’s a wonder anyone could suffer through all four volumes of it—I did, but I found myself confused much of the time even though I took notes as I read to try to keep the multitude of largely undeveloped characters straight. There are plenty of sexual trysts and adulterous relationships to make Catherine Morland or any young female reader blush—in fact, I doubt any Gothic novel is so sexual except perhaps the much better written The Monk (1796) by Matthew Lewis.

The Orphan of the Rhine, a definition imitation of Mrs. Radcliffe’s Gothic novels, is probably the best of the Northanger novels.

For many years, scholars thought the seven Northanger novels were titles invented by Jane Austen, but research has now restored all of them to us. I would recommend readers curious about Gothic fiction and these novels in particular to start out by reading Northanger Abbey, then Radcliffe’s The Mysteries of Udolpho, and maybe The Italian, though I’m not a big fan of it and prefer her other novel The Romance of the Forest (1791). Once you understand the superb Gothic of Radcliffe, you can appreciate the works of her imitators, and all seven of these Northanger novels are in imitation of her except perhaps Parson’s Castle Wolfenbach which was published the year before Udolpho but not before The Romance of the Forest. I’d suggest you start with Orphan of the Rhine and then try Parsons’ novels, and then if you have the stomach for it, go on to the other ones, including the two German translations, which fall under the category of masculine rather than feminine Gothic (a complicated designation but a basic terminology would be that the feminine Gothic focuses on female heroines. I discuss these terms in more detail in my book The Gothic Wanderer: From Transgression to Redemption.)

These Gothic novels are but a footnote in literary history and would have been forgotten completely if not for Jane Austen, but while I did not care for all of them, the better ones still have the ability to give us the kinds of thrills and chills our ancestors experienced more than two centuries ago, and in truth, we would not have our superhero and vampire stories today if these books had not been written.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, beginning with Arthur’s Legacy and including Lilith’s Love which is largely a sequel to Dracula. His scholarly nonfiction works include King Arthur’s Children: A Study in Fiction and Tradition and The Gothic Wanderer: From Transgression to Redemption. You can learn more about him at www.GothicWanderer.com and www.ChildrenofArthur.com.

Charlotte Smith’s Ethelinde: A Missing Link to Romanticism and the Gothic

This blog might well be titled, “Charlotte Smith, where have you been all my life?” because Smith was a major influence on the development of the early novel, and yet I only just discovered Charlotte Turner Smith (1749-1806) about a year ago when my friend Ellen Moody began blogging about her. Then I began to wonder why I had never heard of her. She was a poet much respected by the Romantics—in fact, she was a distant relative by marriage of Wordsworth and gave him letters of introduction when he went to France. She also wrote ten novels that were very popular and influential in their day. She wrote them all between 1788 and 1798. The first, Emmeline, or the Orphan of the Castle, was a bit immature in style and structure, but it set the tone for much of her later work. The plot concerns an orphan, the believed illegitimate daughter of a nobleman, who, to make a long story short, discovers she is the legitimate daughter of her father and therefore the rightful heir to the castle, despite the manipulations of a rather sinister uncle. Emmeline also has a series of troublesome suitors before she marries the man she loves. I couldn’t help but be reminded of Radcliffe when I read it—the sinister uncle, the illegitimacy, all feel very Gothic, although it is not a Gothic novel.

Charlotte Smith’s second novel, Ethelinde, has just been released by Valancourt Books as a critical edition with an introduction by Ellen Moody.

Then I read Smith’s second novel, Ethelinde, or The Recluse of the Lake (1789). By her second novel, Smith had matured into an accomplished novelist. The novel has just been released for the first time in a critical edition by Valancourt Books, complete with an introduction and notes by Ellen Moody. Upon reading this book, I could well see why Moody feels such enthusiasm for Smith.

Moody had previously told me that Smith uses Gothic elements in her novels, although none of the novels can be rightly termed Gothic. I would certainly not consider Ethelinde to be Gothic, but there are some Gothic elements in it, and Moody says that it was an influential novel upon Ann Radcliffe and Jane Austen, which I can well believe. In her introduction, Moody draws parallels between the novel and Austen’s Mansfield Park specifically.

When I read Ethelinde, I really felt like it was a bridge between the earlier eighteenth century novelists and Radcliffe and Austen. There is much in the novel that owes a debt to earlier sentimental or sensibility novels and the novel of manners. At one point, Ethelinde is in danger of being raped, a clear nod to Richardson’s Clarissa (1748). Ethelinde is also subjected to a host of disagreeable relatives, which reminded me a great deal of Fanny Burney’s Evelina (1778). In Evelina, the title character is more or less persecuted by her middle class relatives who lack genteel manners. In this novel, Ethelinde has both middle class and wealthy relatives, none of whom are quite as comical as in Evelina, but who still have comical elements and some of them are far more cruel in their snobbery and putting on airs once Ethelinde finds herself largely without a protector and penniless.

But what most interested me about this novel was how it is a precursor to Romanticism and Radcliffean Gothic. The Romantic Movement is usually dated from 1798 when Wordsworth and Coleridge published The Lyrical Ballads, but there is much in Smith that shows Romanticism was already alive a decade earlier. Ethelinde opens at Grasmere Castle, a fictional castle in the Lake District. It was so popular with readers that many went to the Lake District and came away disappointed that it wasn’t real. It’s possible that the depiction of the castle inspired Wordsworth later to settle in Grasmere. Both Wordsworth and Coleridge were admirers of Smith’s poetry as well, which often focused on nature.

Ethelinde is at the castle with a pleasure party that includes her cousin, Lady Newenden, and her husband Sir Edward Newenden. The first volume of this five-volume novel takes place at the castle and concerns Ethelinde enjoying nature while also being courted by some disagreeable young, rich men who are friends of her relatives. Eventually, she meets a young man, Montgomery, who seems to be at one with nature and develops a connection with him, especially after he saves her from drowning while all the other men stand and watch or yell at the servants to save her. Montgomery is the character whom I believe is referred to in the subtitle as the recluse. He and his mother live humbly and isolated in Grasmere, but they are of genteel blood. Ethelinde is immediately taken with Montgomery, who at first seems like a character right out of Wordsworth.

The attention to nature in this first volume of the novel also predates Radcliffe’s focus on nature in her novels. In Radcliffe’s The Mysteries of Udolpho (1794), Emily St. Aubert is constantly admiring the beauty of nature and feeling how it calms the soul. By comparison, the villains in the novel, especially Montoni, do not notice nature or see it as a solace or inspiration to the soul. In Ethelinde, the title character enjoys nature, while her obnoxious cousin, Lady Newenden, can find no pleasure in it, constantly complaining she is cold or hot when she is outdoors and fretting over her health—often for attention. Lady Newenden quickly becomes one of the villains of the novel when it is revealed she is likely to or already cheating on her husband. Before the novel is over, Sir Edward will separate from his wife; he will also be accused by her parents of being the adulterer because it becomes obvious that he has feelings for Ethelinde. While in time Sir Edward admits to such feelings, Ethelinde remains true to her love for Montgomery.

Another significant theme in the novel is that of illegitimacy. Smith had already played with this theme in Emmeline, and it was a common theme in earlier novels such as Evelina. Smith, however, does not make illegitimacy so shocking or detrimental as does Burney. In Evelina, the heroine is concerned that her father will not recognize her as his legitimate daughter. In Ethelinde, while Ethelinde is clearly legitimate, many of the supporting cast of characters are not, including Mrs. Montgomery’s brothers and her niece. Nor is illegitimacy something that leads to Gothic situations of incest as in Radcliffe where it nearly leads to a marquis raping his niece in The Romance of the Forest (1791). In her book Art of Darkness, the critic Ann Williams remarks, “Gothic plots are family plots; Gothic romance is family.” The same is true in Ethelinde, minus the Gothic elements. There are twists and turns and surprises along the way for the relatives, most notably when Montgomery’s illegitimate cousin ends up being married to Ethelinde’s brother, Harry Chesterville.

Smith, although focusing on a female main character, and therefore writing what could be considered feminine Gothic, if the book were truly Gothic, also plants the seeds for the masculine Gothic in two of her characters, Harry Chesterville and Sir Edward Newenden. In masculine Gothic novels, such as Matthew Lewis’ The Monk (1795), William Godwin’s St. Leon (1799), and Charles Maturin’s Melmoth the Wanderer (1820), the male characters are often tormented by guilt over their past crimes, by how their poor decisions destroy their families, and by longing for what they cannot obtain. In the novel, gambling, which will be a major transgression in Gothic literature (see Chapter 4 of my book The Gothic Wanderer), leads to the destruction of Ethelinde’s family’s wealth. Her father cannot control his gambling and thus loses most of the family fortune. Then her brother goes on spending sprees that ultimately bankrupt them. While Ethelinde’s father, Colonel Chesterville, feels great guilt over what he has done and fears for Ethelinde’s wellbeing as a result, it is her brother, Harry Chesterville, who becomes the true Gothic wanderer figure who commits transgression through his inability to curb his spending. He ends up in debtor’s prison, leading to his father’s worries turning into illness and his eventual demise. Harry is tormented, describing himself as the “murderer” of his own father. At one point, he becomes so consumed with guilt that he attempts suicide. Harry is like other men in Gothic fiction who seem unable to stop their addictions—fortunately, he is Ethelinde’s brother and not lover. Radcliffe would allow Emily St. Aubert, her Gothic heroine, to marry Valancourt, who also falls into the gambling transgression in The Mysteries of Udolpho, although Valancourt is, thankfully, not a villain and has all the attractions, initially, of Montgomery in his love for nature.

Charlotte Smith, whose own life with an abusive husband she had to leave, causing her to turn to her pen to support herself and her children, included many autobiographical elements into her novels.

While Ethelinde will love and eventually marry Montgomery, his forest god appeal wears off as the novel continues and he is seen as a bit more one-dimensional. The really interesting male in the novel, who also is a forefather to the masculine Gothic wanderer figure, is Sir Edward Newenden. In her introduction to the novel, Moody compares Sir Edward to Sidney Carton in A Tale of Two Cities (1859), who is tormented by love for the woman he cannot have. In the end, Sir Edward is in the same situation, loving Ethelinde, torn between his love for her and social proprieties that make him try to work things out with his wife. When Lady Newenden dies and Sir Edward is finally free to marry Ethelinde—she believes Montgomery has died at sea at this point—Montgomery dramatically reappears and Sir Edward is forced to step aside to see another man marry the woman he loves. Actually, even if Montgomery hadn’t reappeared, Ethelinde makes it clear that her love for Montgomery would make it impossible for her to marry Sir Edward.

Sir Edward is interesting because he is mentally tormented, but not quite a transgressor. I would argue that he did commit a transgression in marrying Lady Newenden for her money, but we are definitely intended to sympathize with him. He is also an early version of several other characters who haunt the pages of near-contemporary novels because they cannot have the love they desire. Interestingly, those characters are usually women. In Maria Edgeworth’s Belinda (1800), Harriet Freke cannot have the man she loves because she is too outspoken and even crossdresses—her last name is no accident—women who are not feminine are freaks. In Burney’s The Wanderer (1814), the outspoken Elinor, believed to be a portrait of Mary Wollstonecraft, also fails to obtain the hero’s love. Both women are examples of transgressing against the patriarchal code while the true heroines of the novels are sufficiently feminine and well-bred enough to know their place in society. Sir Edward, by being a divorced man and having married for money, has also transgressed against society and morality, and therefore, is not worthy of winning the heroine’s hand.

Finally, I would add that the novel has many interesting references to the colonies. Many of the male characters go to the colonies to seek their fortunes. While Smith does not overtly speak out against the exploitation that occurs because of the colonies, they are, to some extent, depicted as dangerous or immoral places. It is in the West Indies that Mrs. Montgomery’s brother, Harcourt, ends up having an illegitimate daughter (not that that can’t happen in England, but it is a sign that morals are lessened in the colonies), and Montgomery nearly dies when returning to England from India. Later novelists would be more brutal in the threat the colonies pose to morality in England—especially the Bronte sisters in Jane Eyre (1847), Wuthering Heights (1847), and Villette (1853), H. Rider Haggard in She (1886), and Bram Stoker in Dracula (1897).

In short, Ethelinde and Charlotte Smith played a central role in the development of the novel of manners, the Gothic, and Romanticism. I would refer people to Moody’s introduction for more about Smith’s influence on Jane Austen. Certainly, Ethelinde has been neglected for far too long. It is a missing link between Richardson, Burney, and Radcliffe. I highly recommend it to anyone interested in Romanticism, the Gothic, and the development of the novel.

You can purchase the new edition of Ethelinde from Valancourt Books at or at most online or local bookstores.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, beginning with Arthur’s Legacy and including Lilith’s Love which is largely a sequel to Dracula. His scholarly nonfiction works include King Arthur’s Children: A Study in Fiction and Tradition and The Gothic Wanderer: From Transgression to Redemption. You can learn more about him at www.GothicWanderer.com and www.ChildrenofArthur.com.

Book Offers Revolutionary Look at Anthony Trollope and Why We Read Him

Trollope on the Net

Ellen Moody

The Hambledon Press (1999)

ISBN: 1852851902

 

Ellen Moody’s Trollope on the Net is a true pioneer work on the ways the Internet has changed how we read and talk about books, using Anthony Trollope as her subject. While anyone who loves Trollope’s novels will enjoy this book for its extensive commentary on his novels, Moody’s focus is also on how book discussions are held and how they inform our reading. Moody discusses the establishment of the Trollope and His Contemporaries list-serv discussion group in the late 1990s and how the group came to read together and discuss Trollope’s novels. She describes in detail the demographics of the readers involved in the list, the housekeeping of how participants voted and decided on which books to read, and the discussions of the books, along with what disagreements ensued, when participation was slow or active and why, and what was to be gained in terms of better understanding Trollope through reading as an online group.

Moody is a longtime professor of English, and while she could have written a very academic book about Trollope, and there is plenty of thoughtful discussion here, she gives equal weight and interpretation not only to the professors and graduate students who participated, but to a wide variety of people, many of whom simply love Trollope and wanted to read his novels together. Setting aside academic theories that often interest no one outside of academia, Moody explores why people read and what has made Trollope, often ignored in academia, a favorite author among so many readers who have discovered him by chance or word-of-mouth and become devoted to his novels.

Individual chapters focus on various works by Trollope that were read over a two-year period, including Trollope’s Irish novels, Can You Forgive Her?, Lady Anna, The Claverings, and He Knew He Was Right, and Trollope’s autobiography. Two especially thoughtful and powerful chapters are included, one on the Victorian illustrations created for Trollope’s novels and how they informed a reading of the text, and the other on why Trollope’s shorter novels deserve reassessment so they can be seen as equally of value as his longer ones.

I will admit up-front that I am a bit prejudiced in this book’s favor because I joined the Trollope list-serv in late 1998 just after the period of group reads that Moody discusses in the book. At the end of Trollope on the Net, Moody mentions that the group plans next to read the Barchester novels, which is when I joined in. These group reads were my first real introduction to Trollope. Since then I have read over a dozen Trollope novels with the group, as well as works by Sir Walter Scott, Margaret Oliphant, George Moore, George Eliot, Elizabeth Gaskell, John Galsworthy, Ann Radcliffe, Victor Hugo, and Charles Dickens. For me, participating in the list has led to friendships and an enhanced understanding of Trollope and nineteenth century literature. It has been exciting to me to read Moody’s book and learn more about our group’s infancy.

What I most admire about Trollope on the Net is the even-handedness and courage Moody provides in her discussion. For numerous reasons—all of them insufficient—Trollope has been ignored or looked down upon as a writer. I find this amazing since as a novelist myself, I have come to consider him one of my favorite authors and one of my greatest influences.

As Moody reveals, giving examples from literary critics reaching back to just after Trollope’s death, most of the lack of appreciation and loss of favor for Trollope seems to stem from how he describes his writing process in An Autobiography. Rather than let people think there was some mystique to how an author creates, Trollope, as Moody states, “refused to participate in any cult of the artist.” Trollope reveals in An Autobiography how he would force himself to write in the morning before he allowed himself out of bed and how he set length requirements for himself each day. This mechanical and perhaps not glamorous view of writing badly hurt his reputation, but quite undeservingly, since as a novelist myself, I know what hard work it is to create a book and the dedication required; if you wait for inspiration to strike, you will hardly ever write a word.

Despite his hard work, Trollope clearly was a man whose imaginative world was the most important aspect of his life, a man who dedicated himself to his work and consequently was able to produce a greater number of novels than any of his contemporaries who are held perhaps in higher esteem, but who also perhaps did not have any greater degree of talent, and many of them, notably George Eliot, acknowledged their debts to Trollope in their own creations. While An Autobiography may have hurt Trollope’s reputation, it is in some ways his greatest work because it is one of the first documentations of how a writer creates fiction. As Moody states, “His imaginative life was the one that counted most strongly for Trollope, the one which produced the books for which we value him. He left us a book in which he tried to explain how this part of his life grew and what it felt like. It was a generous gift.” Generous indeed. It is a light shining in the darkness for anyone, myself included, who has aspired to writing fiction.

Moody provides plenty of discussion of the prejudices and misunderstandings of Trollope’s work, giving the reasons and arguments, followed by rational and thoughtful rebuking of these viewpoints. Her enthusiasm for Trollope is never out of place and while she is honest about Trollope’s weaknesses, she also makes convincing arguments for why he deserves the popularity he retains among readers. Overall, Moody has written a fascinating book about not only why Trollope deserves to be read, but why people read and how the Internet has changed how we read. Beyond being a highlight in Trollope studies, Trollope on the Net is a book that should be read by anyone documenting how the Internet has changed how people communicate with one another.

For more information about Ellen Moody, Trollope on the Net, and the list-serv “Trollope and His Contemporaries,” visit http://www.jimandellen.org/ellen/ and http://www.jimandellen.org/trollope/trollope.list.html

To order a copy of Trollope on the Net, email Moody at (ellen.moody@gmail.com) or visit her webpage for the book at http://www.jimandellen.org/totn.html

— Tyler R. Tichelaar, Ph.D. and author of The Gothic Wanderer: From Transgression to Redemption, Gothic Literature from 1794—present