Even this bitter humiliation does not sweep away the cobwebs of romance from Catherine's imaginative mind, but the dark suspicions she harbours about General Tilney are not altogether inexplicable. He is so much less natural and so much more stagey than the other characters that he might reasonably be expected to dabble in the sinister. This time Catherine is misled by memories of the Sicilian Romance into weaving a mystery around the fate of Mrs. Tilney, whom she pictures receiving from the hands of her husband a nightly supply of coarse food. She watches in vain for "glimmering lights," like those in the palace of Mazzini, and determines to search for "a fragmented journal continued to the last gasp," like that of Adeline's father in The Romance of the Forest. In this search she encounters Tilney, who has returned unexpectedly from Woodston. He dissipates once and for all her nervous fancies, and Catherine decides: "Among the Alps and Pyrenees, perhaps, there were no mixed characters. There, such as were not spotless as an angel, might have the dispositions of a fiend. But in England it was not so."
Miss Austen's novel is something more than a mock-romance, and Catherine is not a mere negative of the traditional heroine, but a human and attractive girl, whose fortunes we follow with the deepest interest. At the close, after Catherine's ignominious journey home, we are back again in the cool world of reality. The abbey is abandoned, after it has served its purpose in disciplining the heroine, in favour of the unromantic country parsonage.
In Northanger Abbey, Jane Austen had deftly turned the novels of Mrs. Radcliffe to comedy; but, even if her parody had been published in 1798, when we are assured that it was completed, her satirical treatment was too quiet and subtle, too delicately mischievous, to have disturbed seriously the popularity of the novel of terror. We can imagine the Isabella Thorpes and Lydia Bennets of the day dismissing Northanger Abbey with a yawn as "an amazing dull book," and returning with renewed zest to more stimulating and "horrid" stories. Maria Edgeworth too had aimed her shaft at the sentimental heroine in one of her Moral Tales—Angelina or L'Amie Inconnue (1801). Miss Sarah Green, in Romance Readers and Romance Writers (1810) had displayed the extravagant folly of a clergyman's daughter whose head was turned by romances. Ridicule of a more blatant and boisterous kind was needed, and this was supplied by Eaton Stannard Barrett, who, in 1813—five years before Northanger Abbey appeared—published The Heroine or The Adventures of Cherubina. In this farcical romance it is clearly Barrett's intention to make so vigorous an onslaught that "the Selinas, Evelinas, and Malvinas who faint and blush and weep through four half-bound octavos" shall be, like Catherine Morland, "humbled to the dust." Sometimes, indeed, his farce verges on brutality. To expose the follies of Cherubina it was hardly necessary to thrust her good-humoured father into a madhouse, and this grim incident sounds an incongruous, jarring note in a rollicking high-spirited farce. The plights into which Cherubina is plunged are so needlessly cruel, that, while only intending to make her ridiculous, Barrett succeeds rather in making her pitiable. But many of her adventures are only a shade more absurd than those in the romances at which he tilts. Regina Maria Roche's Children of the Abbey (1798) would take the wind from the sails of any parodist. In protracting The Heroine almost to wearisome length, Barrett probably acted deliberately in mimicry of this and a horde of other tedious romances. Certainly the unfortunate Stuart waits no longer for the fulfilment of his hopes than Lord Mortimer, the long-suffering hero of The Children of the Abbey, who early in the first volume demands of Amanda Fitzalan, what he calls an "éclaircissement," but does not win it until the close of the fourth. Barrett does not scruple to mention the titles of the books he derides. The following catalogue will show how widely he casts his net: Mysteries of Udolpho, Romance of the Forest, Children of the Abbey, Sir Charles Grandison, Pamela, Clarissa Harlowe, Evelina, Camilla, Cecilia, La Nouvelle Heloïse, Rasselas, The Delicate Distress, Caroline of Lichfield,[98] The Knights of the Swan,[99] The Beggar Girl, The Romance of the Highlands.[100] Besides these novels, which he actually names, Barrett alludes indirectly to several others, among them Tristram Shandy and Amelia. From this enumeration it is evident that Barrett was satirising the heroine, not merely of the "novel of terror," but of the "sentimental novel" from which she traced her descent. He organises a masquerade, mindful that it is always the scene of the heroine's "best adventure," with Fielding's Amelia and Miss Burney's Cecilia and probably other novels in view. The precipitate flight of Cherubina, "dressed in a long-skirted red coat stiff with tarnished lace, a satin petticoat, satin shoes and no stockings," and with hair streaming like a meteor, described in Letter XX, is clearly a cruel mockery of Cecilia's distressful plight in Miss Burney's novel. Even Scott is not immune from Barrett's barbed arrows, and Byron is glanced at in the bogus antique language of "Eftsoones." Barrett, indeed, jeers at the mediaeval revival in its various manifestations and even at "Romanticism" generally, not merely at the new school of fiction represented by Mrs. Radcliffe, her followers and rivals. Not content with reaching his aim, as he does again and again in The Heroine, Barrett, like many another parodist, sometimes over-reaches it, and sneers at what is not in itself ridiculous.
Nominally Cherubina is the butt of Barrett's satire, but the permanent interest of the book lies in the skilful stage-managing of her lively adventures. There is hardly an attempt at characterisation. The people are mere masqueraders, who amuse us by their costume and mannerisms, but reveal no individuality. The plot is a wild extravaganza, crammed with high-flown, mock-romantic episodes. Cherry Wilkinson, as the result of a surfeit of romances, perhaps including The Misanthropic Parent or The Guarded Secret (1807), by Miss Smith, deserts her real father—a worthy farmer—to look for more aristocratic parents. As he is not picturesque enough for a villain, she repudiates him with scorn: "Have you the gaunt ferocity of famine in your countenance? Can you darken the midnight with a scowl? Have you the quivering lip and the Schedoniac contour? In a word, are you a picturesque villain full of plot and horror and magnificent wickedness? Ah! no, sir, you are only a sleek, good-humoured, chuckle-headed, old gentleman." In the course of her search she meets with amazing adventures, which she describes in a series of letters to her governess. She changes her name to Cherubina de Willoughby, and journeys to London, where, mistaking Covent Garden Theatre for an ancient castle, she throws herself on the protection of a third-rate actor, Grundy. He readily falls in with her humour, assuming the name of Montmorenci, and a suit of tin armour and a plumed helmet for her delight. Later, Cherubina is entertained by Lady Gwyn, who, for the amusement of her guests, heartlessly indulges her propensity for the romantic, and poses as her aunt. She is introduced in a gruesome scene, which recalls the fate of Agnes in Lewis's Monk, to her supposed mother, Lady Hysterica Belamour, whose memoirs, under the title Il Castello di Grimgothico, are inserted, after the manner of Mrs. Radcliffe and M.G. Lewis, who love an inset tale, into the midst of the heroine's adventures. Cherubina determines to live in an abandoned castle, and gathers a band of vassals. These include Jerry, the lively retainer, inherited from a long line of comic servants, of whom Sancho Panza is a famous example, and Higginson, a struggling poet, who in virtue of his office of minstrel, addresses the mob, beginning his harangue with the time-honoured apology: "Unaccustomed as I am to public speaking." The story ends with the return of Cherubina to real life, where she is eventually restored to her father and to Stuart. The incidents, which follow one another in rapid succession, are foolish and extravagant, but the reminiscences they awaken lend them piquancy. The trappings and furniture of a dozen Gothic castles are here accumulated in generous profusion. Mouldering manuscripts, antique beds of decayed damask, a four-horsed barouche, and fluttering tapestry rejoice the heart of Cherubina, for each item in this curious medley revives moving associations in a mind nourished on the Radcliffe school. When Cherubina visits a shop she buys a diamond cross, which at once turns our thoughts to The Sicilian Romance. In Westminster Abbey she is disappointed to find "no cowled monks with scapulars"—a phrase which flashes across our memory the sinister figure of Schedoni in The Italian. At the masquerade she plans to wear a Tuscan dress from The Mysteries of Udolpho, and, when furnishing Monkton Castle she bids Jerry, the Irish comic servant, bring "flags stained with the best old blood—feudal, if possible, an old lute, lyre or harp, black hangings, curtains, and a velvet pall." Even the banditti and condottieri, who enliven so many novels of terror, cannot be ignored, and are represented by a troop of Irish ruffians. Barrett lets nothing escape him. Rousseau's theories are irreverently travestied. The thunder rolls "in an awful and Ossianly manner"; the sun, "that well-known gilder of eastern turrets," rises in empurpled splendour; the hero utters tremendous imprecations, ejaculates superlatives or frames elaborately poised, Johnsonian periods; the heroine excels in cheap but glittering repartee, wears "spangled muslin," and has "practised tripping, gliding, flitting, and tottering, with great success." Shreds and patches torn with a ruthless, masculine hand from the flimsy tapestry of romance, fitted together in a new and amusing pattern, are exhibited for our derision. The caricature is entertaining in itself, and would probably be enjoyed by those who are unfamiliar with the romances ridiculed; but the interest of identifying the booty, which Barrett rifles unceremoniously from his victims, is a fascinating pastime.
Miss Austen, with her swift stiletto, and Barrett, with his brutal bludgeon—to use a metaphor of "terror"—had each delivered an attack; and in 1818, if we may judge by Peacock's Nightmare Abbey, there is a change of fashion in fiction. How far this change is due to the satirists it is impossible to determine. Mr. Flosky, "who has seen too many ghosts himself to believe in their external appearance," through whose lips Peacock reviles "that part of the reading public which shuns the solid food of reason," probably gives the true cause for the waning popularity of the novel of terror:
"It lived upon ghosts, goblins and skeletons till even the devil himself … became too base, common and popular for its surfeited appetite. The ghosts have therefore been laid, and the devil has been cast into outer darkness."
The novel of terror has been destroyed not by its enemies but by its too ardent devotees. The horrid banquet, devoured with avidity for so many years, has become so highly seasoned that the jaded palate at last cries out for something different, and, according to Peacock, finds what it desires in "the vices and blackest passions of our nature tricked out in a masquerade dress of heroism and disappointed benevolence"—an uncomplimentary description of the Byronic hero. Yet sensational fiction has lingered on side by side with other forms of fiction all through the nineteenth century, because it supplies a human and natural craving for excitement. It may not be the dominant type, but it will always exist, and will produce its thrill by ever-varying devices. Those who scoff may be taken unawares, like the company in Nightmare Abbey. The conversation turned on the subject of ghosts, and Mr. Larynx related his delightfully compact ghost story:
"I once saw a ghost myself in my study, which is the last place any one but a ghost would look for me. I had not been in it for three months and was going to consult Tillotson, when, on opening the door, I saw a venerable figure in a flannel dressing-gown, sitting in my armchair, reading my Jeremy Taylor. It vanished in a moment, and so did I, and what it was and what it wanted, I have never been able to ascertain"
—a quieter, more inoffensive ghost than that described by Defoe in his Essay on the History and Reality of Apparitions: "A grave, ancient man, with a full-bottomed wig and a rich brocaded gown, who changed into the most horrible monster that ever was seen, with eyes like two fiery daggers red-hot." Mr. Flosky and Mr. Hilary have hardly declared their disbelief in ghosts when:
"The door silently opened, and a ghastly figure, shrouded in white drapery with the semblance of a bloody turban on its head, entered and stalked slowly up the apartment. Mr. Flosky was not prepared for this apparition, and made the best of his way out at the opposite door. Mr. Hilary and Marionetta followed screaming. The honourable Mr. Listless, by two turns of his body, first rolled off the sofa and then under it. Rev. Mr. Larynx leaped up and fled with so much precipitation that he overturned the table on the foot of Mr. Glowry. Mr. Glowry roared with pain in the ears of Mr. Toobad. Mr. Toobad's alarm so bewildered his senses that missing the door he threw up one of the windows, jumped out in his panic, and plunged over head and ears in the moat. Mr. Asterias and his son, who were on the watch for their mermaid, were attracted by the splashing, threw a net over him, and dragged him to land."