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Alexis Smith

14 December 2015

Innocent Truths: Understanding Gradual Revelations in

Northanger Abbey and Return of the Soldier

It has long been argued that a state of blissful ignorance can sometimes be better than

knowing hard truths, but the fine line between innocence and ignorance is the obstacle in the way

of determining how much of the truth should be revealed. Many novels encompass the struggle

with truth and innocence, but the idea is commonly overlooked by more prominent symbols and

themes. Taking a closer look at how truth is revealed to characters, readers must begin to

understand the agents of reality placed in the lives of the innocent, and understanding the conflict

of these agents better acquaints the reader with the revelation. In Jane Austen’s Northanger

Abbey as well as Rebecca West’s Return of the Soldier, the characters who become the agents of

reality for Catherine and Chris are the ones to which they are attached the most. In the opening

chapters of both Austen and West’s novels, the reader understands the innocent state in which the

characters are introduced, but as the plots progress, small realities introduced by close

influencers quickly puncture the innocent state and both Catherine and Chris are exposed to the

world of reality.

Recent scholarship concerning both novels tends to lean towards history and feminism,

and not much of the conversation discusses truth and innocence. However, Jeffery Hershfield has

written a recent article entitled, “Truth and Value in Rebecca West’s Return of the Soldier,” and

delves into a deeper conflict than that of Chris’ love for Margaret. Hershfield deals with the need

of happiness set against the prerogatives of truth and how characters like Margaret struggle with

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the importance of truth. Scholars also favor looking at the trauma and psychological issues

surrounding Chris, and this research correlates with the theme of truth and revelation as he is

brought out of a state of amnesia. Steve Pinkerton addresses this aspect in his article, “Trauma

and Cure in Rebecca West’s The Return of the Soldier,” and like Hershfield, he focuses on the

“cure.” Unlike Hershfield, Pinkerton stresses Margaret’s role in targeting the “cure,” and

challenges readers to take a closer look at her pivotal role in Chris’ transformation.

Like scholars concerned with West, recent Austen scholarship covers a broad perspective

of themes in her fiction. One major theme surrounding Northanger Abbey specifically, is

Catherine’s naivety. Ironically, Ema Jelinkoca describes this state of mind as “blissful amnesia”

in her article, “Jane Austen and the Blissful Amnesia in Northager Abbey.” Jelinkoca argues that

“ignorance is strength,” (128) and asserts that Catherine’s mind is as a “thin crust of social

conventions” (124) that Henry Tilney breaks down by introducing truth to her imaginary world.

Jelinkoca, like Pinkerton, accentuates the importance of outside influences. Also concerned with

Catherine’s “coming-of-age,” Avrom Fleishman writes an article dealing with the socialization of

the main character and delves into her social and psychological development. Both West and

Austen scholars slightly examine the revelations of Catherine and Chris, but there is a deeper

level of understanding readers should recognize. There is not only the obvious epiphany for both,

but micro-moments of enlightenment provided by influences around them that lead to personal

reality.

In both Northanger Abbey and Return of the Soldier, the reader understands that two

main characters—Catherine Morland and Chris Baldry are introduced living in a state of

innocence. Catherine is easily persuaded by both the people around her as well as her beloved

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gothic novels, and Austen’s division of the novel into two parts shows how she overcomes both

obstacles. The beginning of Northanger Abbey reveals that Catherine has not had the opportunity

to travel or become acquainted socially with anyone outside her family and close neighbors, but

the Allens take her to socially prominent Bath and introduce her to the “outside world.” Upon

arriving in Bath, Catherine and Mrs. Allen have trouble adapting and finding friends on the

social scene, but soon Catherine meets a “friend,” Isabella Thorpe, as well as a mysterious

gentleman introduced as Tilney. Catherine would not learn his first name until the tenth chapter,

but his importance to her development is evident from the time of their introduction. From the

time Isabella is introduced, it is evident that she is not what she claims to be, but uses Catherine

to better acquaint herself with James. She and her brother John even persuade Catherine to

abandon her date with Henry and Eleanor Tilney. She regrets this later and almost loses her

chance of true friendship, but Catherine does not appear to learn much from this mistake because

she continues her relationship with the Thorpes. Pausing after this scene, the reader must

question not only Catherine’s innocence, but her stubbornness as well. One would think that

almost losing a friendship would be enough to reveal to Catherine her vulnerability, but this is

not the case for Austen’s willful protagonist. It is not until a second attempt when her “friends”

try to keep her away from the Tilneys that Catherine truly begins to understand their motives.

Although not overtly, Henry helps Catherine learn the difference between true and hypocritical

friendship as she begins to learn how to “read” people.

Although a vastly different novel, West’s Return of the Soldier shows a unique state of

innocence in the mind of the returning soldier, Chris. The reader is first introduced to him

through dialogue instead of appearance as much of the opening pages consist of Jenny and Kitty

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discussing how “He was so happy here” (5). However, it is not these two women in Chris’ life

who first hear of his condition, but they are informed by another woman in his life—a woman

from his innocent life and now innocent mind—Margaret. Although Chris’ life is extremely

different than Catherine’s, he too lives in a state of innocence—innocent of war memories;

innocent of pain from deaths; innocent of marital memories. Unlike Catherine, Chris has

experience, but because of the amnesia, they both live in a state of limited knowledge.

Both agents of reality are introduced in slightly mysterious fashions—Tilney is

introduced without a first name and seemingly disappears for several pages, and Margaret is a

low-class stranger in the home to which she makes her first visit. Arguably, this is purposely

done by Austen to further the gothic element in the novel, and it is conceivable that West is

mirroring the sentiment of the war era—a problematic time of unanswered questions. Both

novels are a product of their era, yet they are producing the same characters because of the

timeless issue of truth.

Now that the characters and influencers have been introduced, gradual cracks to the

protective walls of innocence begin to show. It is important to note that Henry and Margaret are

not the only influences in the lives of Catherine and Chris, but there are those who believe they

know truth, and they speak with the same conviction. Just as when Jenny and Kitty discuss how

they knew Chris to be happy, they dismiss Margaret’s claim as Jenny states, “ we obeyed that

mysterious human impulse to smile…for this news was not true” (8). This denial of the truth

shows the reader that this is the side of truth in which Jenny and Kitty stand. In the same way,

Isabella confidently tells Catherine “I know you very well,” (37) and later in the novel says, “I

know you better than you know yourself,” (65) but when compared to actions taken by Isabella,

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this statement proves to be equivocal as they carry some degree of truth, but they are said to

persuade Catherine. Although these pervasive statements are present, truth prevails because of

Margaret and Catherine’s search for it. After her first encounter with Henry, Catherine seems to

be on a quest for truth (if this is what Henry stands for) when she looks “with an inquiring eye

for Mr. Tilney in every box which her eye could reach” (32). Austen uses this to show the reader

not only Catherine’s desire to see Henry, but also the role of revelation that he plays in her life as

he is the “truth” for which she is ultimately searching.

One of the first revelations in West’s novel comes from Margaret, but it is not Chris on

the receiving end; it is Jenny and Kitty. When Margaret finally cries, “But Chris is ill!” Jenny

says, “It took only a second for the…moment to penetrate…the use of his name” (9). This

revelation tears down the lies of Jenny and Kitty and foreshadows the vital role Margaret will

play in revealing truth to Chris. The women try to combat Margaret’s claims, but a telegram and

letter confirm her truths. When Chris returns home and reality for the women sinks in, it is Chris’

turn to face tiny truths that lead to his “cure.” His first encounter with his sister and wife are

small realities he was not ready for, but harder truths follow as Hershfield points out that Chris

struggles between personal happiness and overwhelming truth (368). Kitty tries to trigger

memories when she dresses “like a bride,” (16) but because her perception of their marriage was

not truly how it was, she is not effective. Only truth can provoke truth. This is evident in

Northanger Abbey when Catherine hopes to see Henry, “a hope which, when it proved to be

fruitless, she felt to have been highly unreasonable” (53). The reality of Henry’s absences is the

beginning of Catherine’s understanding of her imagination being unreliable.

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After her revelation that not all who claim to be friends are true, Catherine faces the

second obstacle in her development towards truth—her imagination and influence of the fiction

she reads. Before her invitation to Northanger Abbey, Catherine forms preconceived ideas about

the Tilney family that is conjured by her imagination when she tells Mrs. Allen of the parents, “I

have the notion they are both dead; at least the mother is” (62). Although half of her assumption

is true, it is significant to note that Catherine draws conclusions from her “notions” or

imagination as this will lead her in the second part of the novel. Before delving into the second

part of Catherine’s story, it is imperative to understand Henry’s gravity in her life up to this point.

Several instances in the first half of the novel show that Henry truly understands Catherine and

he consistently holds a mirror to reveal who she is. From their first meeting when he tells her

what she will write in her journal, Henry speaks truth to Catherine, later he observes, “You

totally disallow any similarity in the obligations; and may I thence infer that your notions of the

duties of the dancing state are not so strict as your partner might wish?” (70). Henry directly

contradicts her “notions.” Many times, Henry is seen mirroring Catherine’s actions so she can

see herself. Stephanie Eddleman makes a compelling argument that Henry is a “feminized hero.”

She asserts that “although Henry is ‘feminized,’ he is definitely not effeminate” (70). She further

discusses his knowledge about female enjoyments such as journaling and reading gothic fiction.

This argument supports the assertion that Austen uses Henry to reflect the true Catherine so that

she is able to better understand herself.

Just as Catherine begins seeing herself, Chris talks about himself as he remembers. As he

learns of the truth of his dead butler and father, he asks Jenny if “all of this” is real, to which she

replies yes, “this place has changed, and it is better and jollier in all sorts of ways” (20). Because

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what Jenny says is untrue, it has no affect on Chris’ condition so Jenny tries a different approach

as she says, “Tell me what seems real to you” (20). Chris lingeringly tells her the story from

Monkey Island where he met and grew to love Margaret and as the story unfolds, Jenny comes to

better understand his dilemma. This truth gives Jenny understanding, but it will take Margaret to

bring Chris out of his delusional state. The next day, before going to get Margaret, Jenny again

tries to force what she sees as truth on Chris when she “warns” him of Margaret’s appearance

and tells him, “she’s not as you think of her…She isn’t beautiful any longer…You can’t love her

when you see her” (24). Jenny could not understand Chris’ reality, and what she saw as truth

turned out to be ignorance in the eyes of Chris. She then goes to get Margaret and asks her to

come to Chris and asserts, “you do know our Chris”(26). This is perhaps the truest statement

made by Jenny and it takes the presence of Margaret to provoke it. Margaret does agree to go to

Chris and now both agents of reality have united with the characters in which they were created

to influence.

Catherine has arrived at Northanger Abbey and Margaret has come to Chris as they

reminisce about life on Monkey Island. Having overcome her naivety of people, Catherine has

come to Northanger Abbey to understand there are other obstacles blocking her knowledge of

truth—her novels and imagination. Catherine is influenced greatly by the gothic novels she

reads, and going to an abbey feeds her imagination as she envisions old castles and abbies that

fulfill her “passion for old edifices” (124). Already, she has let her imagination and love of gothic

fiction influence her opinion of what the abbey will be. Oddly, when Catherine asks Henry if the

abbey is “just like what one reads about,” he replies, “are you prepared to encounter all the

horrors that a building such as ‘what one reads about’ may produce?—Have you a stout heart?—

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Nerves fit for sliding panels and tapestry?” (138). One has to ask why he is seemingly feeding

her imagination, but Henry does this to try and show her how dramatic her thoughts have

become. However, Catherine is oblivious to this approach and his comment only deepens her

suspicions.

Just as Henry indulges Catherine’s imagination, Margaret entertains Chris’ state of mind

as they remember Monkey Island. Jenny makes an assertion that “It was strange how both Chris

and she spoke of it as though it were not a place, but a magic state” (28). This conclusion

endorses the opinion that for a time, Chris and Catherine were both living in a state of “blissful

ignorance.” However, the shadow of truth is sure to cover and consume this “happiness.” As

Margaret tells her side of the story, it is evident that through the years, she has always been

truthful with Chris, but he has not always accepted it. When she tells about her outing with Bert,

Chris does not believe her and gives her no time to explain even though he has no evidence or

real reason to accuse her of misconduct. Margaret must have questioned whether he would

accept truth now.

After Margaret and Henry try to create truth by indulging ignorance, they realize the

failed attempt and wait for an opportunity to arise. Catherine’s first encounter with Northanger

Abbey should be an indication that neither all she had imagine, nor all Henry claimed was true.

Although the outside view is gothic architecture, her first statement upon arrival is, “A moment’s

glance was enough to satisfy Catherine that her apartment was very unlike the one which Henry

had endeavored to alarm her by the description of” (143). One would assume this would show

Catherine that Henry’s earlier statements were exaggerated, but she continues her quest to live

out her gothic fantasy. Another small truth is revealed to her when she goes looking for

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“treasure” in the abbey and comes across some papers she is sure will contain unimaginable

evidence of murder or perhaps give a clue to the past of the abbey. The next morning when “Her

greedy eye glanced rapidly over a page…an inventory of linen…seemed all that was before

her…she held a washing-bill in her hand” (150). These small realities that challenge her

imagination should warn her of their guidance. What captures her imagination the most is the

absent mother and the details surrounding her death. Catherine becomes convinced that General

Tilney has murdered his wife. This is the imaginative peak she reaches being persuaded by her

gothic fiction, and only Henry can show her the ridiculousness of her assumptions.

Just as it takes Henry small truths to bring Catherine to a breaking point, it takes the same

small realities to break through Chris’ amnesia. It is Margaret’s explanation that he accepts as he

tells Jenny and Kitty, “I want to tell you that I know it is all right. Margaret has explained to me”

(33). He would not accept half-truths of a “happy marriage,” but because Margaret has always

represented truth, she is the one to bring out simple realities for Chris. They bring doctors to try

and cure him, and even though it partially works, no amount of medical schooling can do for him

what Margaret does. She, as Henry is to Catherine, is the agent of reality placed in Chris’ life,

and only these agents can produce a result.

The moments of enlightenment for both Catherine and Chris happens much in the same

way, and certainly are a results of the decisions of Henry and Margaret. After Catherine’s small

detections fail, she determines to find the reason behind the death of Mrs. Tilney, which she is

sure happened at the hands of General Tilney. She begins to question Eleanor’s knowledge about

the death and when she asks if Eleanor was present she replies, “ No…I was unfortunately from

home.—Her illness was sudden and short; and, before I arrived it was all over” (163). This

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response makes Catherine’s blood run cold and increases her suspicions. She then sets out to find

Mrs. Tilney’s bedroom during Henry’s absences from the abbey. When her attempt to get Eleanor

to take her is interrupted by the General, she determines “her next attempt on the forbidden door

[will be] alone” (168). She makes it to the apartments and arguably Austen’s best description of

Catherine’s mindset and foreshadowing of what is to come in that room is made, “Astonishment

and doubt first seized them [feelings]; and a shortly succeeding ray of common sense added

some bitter emotions of shame” (169). This description so vividly exposes Catherine’s struggle

with truth, and only moments later would Catherine be faced with the most telling mirror—

Henry. After the shock of seeing him, Catherine cannot help but tell him of her suspicions and he

repeats them back to her showing how ridiculous her assertions have been and exposes how her

imagination has led her to this point. He proceeds to tell her of the days that led to his mother’s

death and all of those who witnessed it only adding to Catherine’s humiliation. No one but Henry

could have revealed this truth to her; the General she would not have believed, and Eleanor was

absent. He leaves her to “consider the dreadful nature of the suspicions you have

entertained” (172). This would be the enlightening moment in which Catherine would overcome

her second obstacle—her imagination, and she would step out of a word of “innocence” into a

life of reality.

Just as Henry plays the mirror in Catherine’s life, and reveals truth to her, Margaret plays

the same vital role in Chris’ “cure.” Margaret stumbles upon the knowledge of Chris’ dead child

and realizes this is another connection they share as she too lost a child. This is an important

discovery because it is what she uses to “bring Chris back.” The struggle for Margaret is not the

what but the why. She knows what will trigger Chris’ memory, because she knows the feeling of

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losing a child, but she struggles with why they should even try to bring truth back. She argues,

“If anybody’s happy, you should let them be” and Jenny determines, “she was pleading not with

me, but with fate” (47). This struggle within Margaret is universal and timeless and is why

scholars of Austen as well as West—decades separated—can discuss the issue. After seeing

Kitty, Margaret is reminded that reality cannot be escaped and goes to tell Chris. Jenny, like the

reader, asks, “Now, why did Kitty, who was the falsest thing on earth, who was in tune with

every kind of falsity, by merely suffering somehow remind us of reality?” (49). The importance

of the question weighs heavily on the reader, but the answer is simple: Kitty is Chris’ reality, and

Margaret seeing her understands that reality is something no one can ignore. Rebecca West says

it best, “the happiness of innocence…cannot be integrated into the cultural and social structures

that construct meaning for the majority” (18). The “cure” is often disputed among scholars, but

what is not questionable is Margaret’s role in presenting Chris with reality.

For both Catherine and Chris, the small punctures of reality finally leave nothing but

truth exposed. This truth is a universal quest and that is why romantic authors as well as modern

can use it as a major theme in their fiction. Austen’s novel can be easily overlooked as frivolous

when compared to the weightiness of West’s, but the social issues Catherine overcomes is vital to

her future, and this plays out through decades of characters. These characters as Jenny points out

are not only conversing with one another, but “with the whole hostile, reasonable world” (47).

Both novels prove that truth consumes innocence, and it is achieved by outside influences and

agents of reality.

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!!!!!!!!!!!!!!!!!!

Works Cited

Austen, Jane. Northanger Abbey. New York: Penguin Classics, 1995. Print.

Eddleman, Stephanie M. “Henry Tilney: Austen’s Feminized Hero?” Persuasions: The Jane

Austen Journal 32 (2010): 68-77. JASNA. Web. 12 Dec. 2015.

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Fleishman, Avrom. “The Socialization of Catherine Morland.” ELH 41.4 (1974): 649-667.

JSTOR. Web. 14 Nov. 2015.

Hershfield, Jeffrey. “Truth and Value in Rebecca West’s Return of the Soldier.” Philosophy and

Literature 38.2 (2014): 368-379. Project Muse. Web. 15 Nov. 2015.

Jelinkoca, Ema. “Jane Austen and the Blissful Amnesia in Northanger Abbey.” Brno Studies in

English: Sbornik Praci Filozoficke Fakulty Brnenske Univerzity, S: Rada Anglistica/

Series Anglica 32.12 (2006): 123-128. MLA International Bibliography. Web. 14 Nov.

2015.

Linett, Maren. “Involuntary Cure: Rebecca West’s The Return of the Soldier.” Disability Studies

Quarterly 33.1 (2013): 1-26. MLA International Bibliography. Web. 13 Dec. 2015.

Pinkerton, Steve. “Trauma and Cure in Rebecca West’s The Return of the Soldier.” Journal of

Modern Literature 32.1 (2008): 1-12. Project MUSE. Web. 14 Nov. 2015.

West, Rebecca. “On The Return of the Soldier.” The Yale University Library Gazette 57. 1-2

(1982): 66-71. DSQ. Web. 13 Dec. 2015.

- - -. The Return of the Soldier. New York: Penguin Classics, 1998. Print.