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Northanger Abbey · Chapter

XX explained

Catherine travels to Northanger Abbey with the Tilneys, experiencing both the grandeur and discomfort of the journey.

What happens

Catherine travels to Northanger Abbey with the Tilneys, experiencing both the grandeur and discomfort of the journey. She is awed by the abbey's Gothic appearance but disappointed by its modern, comfortable interior. Henry playfully teases her about Gothic expectations, while Catherine grows increasingly uneasy under General Tilney's oppressive attentions.

Themes in this chapter

  • Reality vs. Imagination

    Catherine's Gothic fantasies about Northanger Abbey clash with the modern, comfortable reality; Henry playfully mocks her expectations.

  • Social Class and Wealth

    General Tilney's lavish travel arrangements and constant attentions highlight the power and discomfort of wealth and status.

  • Appearance vs. Reality

    The abbey appears Gothic from outside but is light and comfortable within; General Tilney seems charming but is overbearing.

Characters to notice

  • Catherine Morland

    Excited yet anxious about visiting Northanger Abbey; her Gothic imagination clashes with reality.

  • Henry Tilney

    Drives Catherine in his curricle, teasing her about Gothic horrors and praising her friendship with Eleanor.

  • General Tilney

    Dominates the journey with his strict punctuality, lavish style, and oppressive attentions toward Catherine.

  • Eleanor Tilney

    Welcomes Catherine warmly but is subdued under her father's presence; her maid crowds the chaise with parcels.

  • Captain Frederick Tilney

    Appears late to breakfast, earning his father's severe reproof; seems dejected, possibly due to Isabella.

  • Mr. Allen

    Accompanies Catherine to Milsom Street and bids her farewell; his opinion on open carriages makes Catherine blush.

Key passages

  • the form of them was Gothic—they might be even casements—but every pane was so large, so clear, so light! To an imagination which had hoped for the smallest divisions, and the heaviest stonework, for painted glass, dirt, and cobwebs, the difference was very distressing.

    The windows were Gothic in shape, but the glass was large, clear, and bright—a disappointing contrast to Catherine's expectation of tiny panes, heavy stone, stained glass, and grime.

    Highlights the theme of reality vs. imagination as Catherine's Gothic fantasies are deflated.

  • A very short trial convinced her that a curricle was the prettiest equipage in the world; the chaise and four wheeled off with some grandeur, to be sure, but it was a heavy and troublesome business, and she could not easily forget its having stopped two hours at Petty France.

    Catherine quickly decided the curricle was the most delightful carriage, while the grand chaise and four seemed cumbersome and slow, especially after the two-hour delay at Petty France.

    Shows Catherine's preference for Henry's company and the lighter, more intimate carriage.

  • His greatcoat, instead of being brought for him to put on directly, was spread out in the curricle in which he was to accompany his son. The middle seat of the chaise was not drawn out, though there were three people to go in it, and his daughter's maid had so crowded it with parcels that Miss Morland would not have room to sit;

    General Tilney's coat was laid in the curricle rather than handed to him, and the chaise's middle seat was left folded, so the maid's parcels left Catherine barely any space.

    Illustrates General Tilney's controlling and inconsiderate nature, causing Catherine discomfort.