As the novel progresses the reader is given more of an insight into Isabella’s inconsistencies. Whilst she professes that ‘There is nothing I would not do for those who are really my friends’ (p.24 NA), the reader discovers that there are vast differences between what Isabella says and what she does. For example, through the narrator’s use of irony she complains about the attention received by the two young men, then proceeds to follow them (p.27 NA); she also says she will not leave Catherine alone but then dances. The main inconsistency is apparent in the fact that her expressions of friendship towards Catherine actually turn out to be quite insincere when she lets both Catherine and James down at the end of the novel, whether that be intentional or not.
Eleanor, on the other hand, talks in a much more reserved manner, considering what she says before she speaks and greeting Catherine with ‘great civility’ (p.52 NA). Eleanor speaks in complete balanced sentences, always being tactful and considerate. Eleanor does nothing to ruin the friendship she has with Catherine until the end of the novel when she tells Catherine that she has to leave Northanger Abbey. Eleanor is very upset at having to do this and professes to be a ‘most unwilling messenger’ (p.180 NA), but nonetheless she carries out the wishes of her father without, as far as the reader is aware, any argument. She is unable to even explain General Tilney’s actions suggesting that she has not questioned him at all. This is an excellent example of the patriarchal society Gilbert & Gubar speak about in the Critical Reader (p.177). Although Eleanor regards Catherine as a sister, she is unable to stand up to or question her father’s actions. She asks Catherine to write to her ‘under cover to Alice’ (p.185 NA) in order not to upset her father. General Tilney has total control over Eleanor, even so far as choosing who her friends are.
At the beginning of Northanger Abbey, Austen’s use of irony can be seen when she refers to Catherine learning the fable of ‘The Hare and many Friends’ (p.2 NA). Austen suggests that Catherine is aware of the dangers of false friends but as the reader soon discovers, that is not true. Catherine is easily deceived by Isabella’s professed friendship. The allusion to this fable suggests that Catherine, like the hare, needs to learn who her true friends are. Austen seems to be suggesting that the reader is about to encounter a satirical, realist novel and to beware of believing all one reads. Austen uses Northanger Abbey to ridicule the conventional novels of that time with their overwrought heroines, and unnatural emotions. Austen ironically portrays Catherine as deficient in experience and perception, unlike the heroines of Gothic and romance novels. (www.sparknotes.com/lit/northangerabbey/characters.html).
Isabella and Eleanor are not only different in their speech and the way they react to others but also in their hobbies. Austen introduces the theme of reading novels through Isabella, which, in Victorian England, was regarded as an inappropriate pastime, particularly for the higher classes. Whilst Isabella claims to enjoy gothic novels, Eleanor is interested in factual history books, which were deemed far more appropriate for the upper classes. Isabella introduces Catherine to gothic novels, which, as Clara Reeves posits in the Critical Reader, may not be a good thing. Clara Reeves (Part I, Critical Reader) is concerned about the effects of the novel, and whether novels encourage immorality in women. Reeves is concerned that women will not be able to differentiate between reality and fantasy, which is exactly what happens to Catherine at Northanger Abbey. Reeves argues that people should be guided to read novels that are both realistic and moral. However, Austen encourages the reader to consider the merits of the novel and demonstrates that Catherine is eventually able to differentiate between true and false friends in spite of allowing herself to become too immersed in the world of the novel. With Eleanor as a role model Catherine begins to realise that people are not as straightforward as they appear in novels. She becomes a better judge of character by the end of the novel. By recognising the differences between reality and fantasy Catherine loses some of her innocence but gains in maturity (www.sparknotes.com).
The theme of youth is also portrayed through the friendships of Eleanor and Isabella. They are both older than Catherine and more experienced in the ways of the world, which highlights Catherine’s naivety and inexperience. Catherine initially looks up to both Isabella and Eleanor, Although, Isabella behaves, at times, like a spoilt child she still introduces Catherine to a world of romance and gothic that she had hitherto not experienced, allowing her character to develop further. Eleanor, on the other hand, introduces Catherine to a more moral and socially acceptable world in which Catherine discovers the meaning of friendship.
Although Isabella’s friendship hurts Catherine, she still gains from it by learning about the world. The false friendship that she encounters with Isabella helps to open Catherine’s eyes to the fact that life is not a novel. You cannot believe all that you see, hear or read and one needs to be able to see people for what they really are. Initially, Catherine is unable to see beneath the surface characteristics displayed. It is only as she matures that she is able to see Isabella’s insincere, manipulative side. Eleanor’s friendship, however, is used to balance Catherine’s development. Eleanor treats Catherine with much more respect and helps Catherine to see that not all friendships are false, but whether the reader regards Eleanor to be a completely true friend is questionable as she refuses to stand up to or even question her father. Cicero claimed that ‘true friendship is based on mutual harmony and can be very rare’, whereby you will do anything for your friend expecting nothing in return. (). Eleanor would not quite do anything for her friend. Even though she regarded Catherine as a true friend, Eleanor still puts family loyalty before Catherine even though she disagreed with her father. Nevertheless, both Isabella and Eleanor’s friendships in Northanger Abbey are crucial for developing and maturing Catherine’s character.
Bibliography
Austen, Jane. [1818] 1990 Northanger Abbey, ed. by John Davie, with an introduction by Terry Castle, Oxford World’s Classics, Oxford: Oxford University Press
Regan, Stephen. Ed. 2001. The Nineteenth-Century Novel: A Critical Reader, London: Routledge
Da Sousa Correa, Delia. Ed. 2000 The Nineteenth-Century Novel: Realisms, London: Routledge
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[Accessed 21 January 2004]
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