In recent criticism, Jane Austen‘s Northanger Abbey has been reconsidered as a comic
rather than mock-Gothic novel, shifting its mockery onto a variety of other targets:
domineering men, unwary readers, the violence underpinning English domesticity. I argue
that Austen continues her engagement with the Gothic, beyond Northanger Abbey, using Emma
as an exemplary case. Emma not only includes explicit mentions of Gothic novels such as
Ann Radcliffe‘s The Romance of the Forest, but implicitly reformulates the relationships
between Female Gothic figures: finding a frail, victimised heroine in Jane Fairfax and a
seductive femme fatale in Emma herself.