It has sometimes been supposed that the more fantastic titles in this catalogue were figments of Jane Austen's imagination, but the identity of each of the seven stories may be established beyond question. Two of the stories—The Necromancer of the Black Forest, a translation from the German, and The Castle of Wolfenbach, by Mrs. Eliza Parsons (who was also responsible for Mysterious Warnings)—may still be read in The Romancist and Novelist's Library (1839-1841), a treasure-hoard of forgotten fiction. Clermont (1798) was published by Mrs. Regina Maria Roche, the authoress of The Children of the Abbey (1798), a story almost as famous in its day as Udolpho. The author of The Midnight Bell was one George Walker of Bath, whose record, like that of Miss Eleanor Sleath, who wrote the moving history of The Orphan of the Rhine (1798) in four volumes, may be found in Watts' Bibliotheca Britannica. Horrid Mysteries, perhaps the least credible of the titles, was a translation from the German of the Marquis von Grosse by R. Will. Jane Austen's attack has no tinge of bitterness or malice. John Thorpe, who declared all novels, except Tom Jones and The Monk, "the stupidest things in creation," admitted, when pressed by Catherine, that Mrs. Radcliffe's were "amusing enough" and "had some fun and nature in them"; and Henry Tilney, a better judge, owned frankly that he had "read all her works, and most of them with great pleasure." From this we may assume that Miss Austen herself was perhaps conscious of their charm as well as their absurdity.
Sheridan's Lydia Languish (1775) and Colman's Polly Honeycombe (1777) were both demoralised by the follies of sentimental fiction, as Biddy Tipkin, in Steele's Tender Husband (1705), had been by romances. It was Miss Austen's purpose in creating Catherine Morland to present a maiden bemused by Gothic romance:
"No one who had ever seen Catherine Morland in her infancy would have supposed her born to be a heroine." In almost every detail she is a refreshing contrast to the traditional type. Two long-lived conventions—the fragile mother, who dies at the heroine's birth, and the tyrannical father—are repudiated at the very outset; and Catherine is one of a family of seven. We cannot conceive that Mrs. Radcliffe's heroines even at the age of ten would "love nothing so well in the world as rolling down the green slope at the back of the house." Her accomplishments lack the brilliance and distinction of those of Adela and Julia, but,
"Though she could not write sonnets she brought herself to read them; and though there seemed no chance of her throwing a whole party into raptures by a prelude on the pianoforte, she could listen to other people's performances with very little fatigue. Her greatest deficiency was in the pencil—she had no notion of drawing, not enough even to attempt a sketch of her lover's profile, that she might be detected in the design. There she fell miserably short of the true heroic height…Not one started with rapturous wonder on beholding her…nor was she once called a divinity by anybody."
She had no lover at the age of seventeen,
"because there was not a lord in the neighbourhood—not even a baronet. There was not one family among their acquaintance who had reared and supported a boy accidentally found at their door—not one whose origin was unknown."
Nor is Catherine aided in her career by those "improbable events," so dear to romance, that serve to introduce a hero—a robber's attack, a tempest, or a carriage accident. With a sly glance at such dangerous characters as Lady Greystock in The Children of the Abbey (1798), Miss Austen creates the inert, but good-natured Mrs. Alien as Catherine's chaperone in Bath:
"It is now expedient to give some description of Mrs. Alien that the reader may be able to judge in what manner her actions will hereafter tend to promote the general distress of the work and how she will probably contribute to reduce poor Catherine to all the desperate wretchedness of which a last volume is capable, whether by her imprudence, vulgarity or jealousy—whether by intercepting her letters, ruining her character or turning her out of doors."
Amid all the diversions of the gay and beautiful city of Bath, Miss Austen does not lose sight entirely of her satirical aim, though she turns aside for a time. Catherine's confusion of mind is suggested with exquisite art in a single sentence. As she drives with John Thorpe she "meditates by turns on broken promises and broken arches, phaetons and false hangings, Tilneys and trapdoors." This prepares us for the delightful scene in which Tilney, on the way to the abbey, foretells what Catherine may expect on her arrival. The hall dimly lighted by the expiring embers of a wood fire, the deserted bedchamber "never used since some cousin or kin had died in it about twenty years before," the single lamp, the tapestry, the funereal bed, the broken lute, the ponderous chest, the secret door, the vaulted room, the rusty dagger, the cabinet of ebony and gold with its roll of manuscripts, prove his intimacy with The Romance of the Forest, as well as with The Mysteries of Udolpho. The black chest and the cabinet are there in startling fulfilment of his prophecies, and when, just as with beating heart Catherine is about to decipher the roll of paper she has discovered in the cabinet drawer, she accidentally extinguishes her candle:
"A lamp could not have expired with more awful effect… Darkness impenetrable and immovable filled the room. A violent gust of wind, rising with sudden fury, added fresh horror to the moment… Human nature could support no more … groping her way to the bed she jumped hastily in, and sought some suspension of agony by creeping far beneath the clothes… The storm still raged… Hour after hour passed away, and the wearied Catherine had heard three proclaimed by all the clocks in the house before the tempest subsided, and she, unknowingly, fell fast asleep. She was awakened the next morning at eight o'clock by the housemaid's opening her window-shutter. She flew to the mysterious manuscript, If the evidence of sight might be trusted she held a washing bill in her hands … she felt humbled to the dust."