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Jane Austen's Reading
Jane Austen’s Reading: The Chawton Years Gillian Dow and Katie Halsey Of all the diversions of life, there is none so proper to fill up its empty spaces as the reading of useful and entertaining authors. Spectator 93 (16 June, 1711) Introduction to Jane Austen’s Reading The earliest description of Jane Austen‘s reading is Henry Austen‘s account in the ‗Biographical Notice of the Author‘ in the first edition of Northanger Abbey, published posthumously in December 1817. James Edward Austen-Leigh‘s Memoir of his aunt (1870) also describes her reading, drawing on the information in the ‗Biographical Notice‘. Henry and Edward focus firmly on authors considered in the nineteenth century to be ‗useful and entertaining‘. They both agree that she loved the works of Samuel Johnson, William Cowper, George Crabbe and Samuel Richardson, in particular Richardson‘s Sir Charles Grandison (1753-4). Henry Austen tells of her early infatuation with ‗Gilpin on the Picturesque‘, writing also that ‗her reading was very extensive in history and belles letters‘, and that she was ‗intimately acquainted with the merits and defects of the best essays and novels in the English language‘ (‗Biographical Notice‘, 330). James Edward suggests that what Henry had called ‗extensive‘ reading in history was actually ‗the old guides – Goldsmith, Hume and Robertson‘. He briefly alludes to her admiration of Sir Walter Scott‘s poetry and Waverley (1814), and quotes her joking determination to read no novels but Maria Edgeworth‘s, her relatives‘ and her own. James Edward then turns from Austen‘s reading: ‗It was not, however, what she knew, but what she was, that distinguished her from others‘ (Austen-Leigh, 78-80). -
The Watchers of Sanditon
The Watchers of Sanditon JULIET McMASTER Department of English, University of Alberta, Edmonron, AB T6G 2E5 I want to begin with that "close, misty morng" when Charlotte Heywood sallies forth from Trafalgar House with docile Mrs. Parker and little Susan to walk to Sanditon House, on their visit to Lady Denham. When they reached the brow of the Hill, they could not for some time make out what sort of Carriage it was, which they saw coming up. It appeared at different moments to be every-thing from the Gig to the Pheaton,-from one horse to 4; &just as they were concluding in favour of a Tandem, little Mary's young eyes distinguished the Coach- man & she eagerly called out, "T'is Uncle Sidney Mama, it is indeed." And so it proved. (Sanditon 425)' It's a bird! It's a plane! It's SIDNEy pARKER!-who is probably destined to be the hero of Sanditon.But seeing the hero is not easy: not for the heroine, and not for us readers either, who must rely on the heroine's young eyes to distinguish his identity and his place in the large pattern of events and characters that make up the novel. Jane Austen plays with that trope of identifying the hero elsewhere in her novels .In Sense and Sensibility, when Elinor and Marianne are out walking, they discem a man on horseback riding towards them. In a few minutes they could distinguish him to be a gentleman; and in a moment afterwards Marianne rapturously exclaimed, "It is he; it is indeed;-I know it is!" (SS 86), But she is "mistaken": it is Edward Ferrars, not Willoughby. -
Legal Issues in Austen's Life and Novels
DePaul Journal of Art, Technology & Intellectual Property Law Volume 27 Issue 2 Spring 2017 Article 2 Reading Jane Austen through the Lens of the Law: Legal Issues in Austen's Life and Novels Maureen B. Collins Follow this and additional works at: https://via.library.depaul.edu/jatip Part of the Computer Law Commons, Cultural Heritage Law Commons, Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, Internet Law Commons, and the Science and Technology Law Commons Recommended Citation Maureen B. Collins, Reading Jane Austen through the Lens of the Law: Legal Issues in Austen's Life and Novels, 27 DePaul J. Art, Tech. & Intell. Prop. L. 115 (2019) Available at: https://via.library.depaul.edu/jatip/vol27/iss2/2 This Lead Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Collins: Reading Jane Austen through the Lens of the Law: Legal Issues in READING JANE AUSTEN THROUGH THE LENS OF THE LAW: LEGAL ISSUES IN AUSTEN'S LIFE AND NOVELS Maureen B. Collins I. INTRODUCTION Jane Austen is most closely associated with loves lost and found and vivid depictions of life in Regency England. Austen's heroines have served as role models for centuries to young women seeking to balance manners and moxie. Today, Austen's characters have achieved a popularity she could have never foreseen. There is an "Austen industry" of fan fiction, graphic novels, movies, BBC specials, and Austen ephemera. -
Heads and Arms and Legs Enough: Jane Austen and Sibling Dynamics
Heads and Arms and Legs Enough: Jane Austen and t Sibling Dynamics :Li KAY TORNEY SOUTER Kay Torney Souter is a Senior Lecturer in English at La Trobe University in Melbourne, Australia. She has a special interest in the relations between literary and psychoanalytic theory, especially Post-Kleinian Psychoanalysis, and in the representation of the body and family relations. How soon, the difference of temper in Children appears!—Jemima has a very irritable bad Temper (her Mother says so)—and Julia a very sweet one, always pleased & happy. —Jane Austen to Fanny Knight (13 March 1817) Jane Austen’s early correspondence frequently shows the young satirist in rollicking bad taste as she entertains her older sister with rude remarks about family resemblance in her acquaintance: the bad breath of all the Misses Debary (20-21 November 1800); the “fat girls with short noses” who “all prove to be Miss Atkinsons” (20-21 November 1800); the adulteress whose face “has the same defect of baldness as her sister’s, & her features not so handsome” (12-13 May 1801). When Austen describes her fictional fami- lies, however, the fun is toned down considerably. The famous advice given to her novel-writing young niece Anna, for example, that “3 or 4 Families in a Country Village is the very thing to work on” (9-18 September 1814), is sim- ple but forensically accurate. Emma, Austen’s work-in-progress at the time she wrote to Anna Austen, turns on the question of whether it is literally three or four families that drive the plot: the novel is apparently organized around the affairs of the Woodhouses, the Knightleys, the Westons—three families—but the grouping turns out to be four, including the Bateses when the mystery of Frank Churchill’s secret romance with Jane Fairfax is revealed. -
Jane Austen's Work As Popular Culture Phenomenon
Jane Austen's Work as Popular Culture Phenomenon Bartolović, Ana Master's thesis / Diplomski rad 2012 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:699412 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-02 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Diplomski studij povijesti i engleskog jezika i književnosti Ana Bartolović Jane Austen's Work as Popular Culture Phenomenon Diplomski rad Mentor: doc. dr. sc. Biljana Oklopčić Osijek, 2012. Summary Jane Austen is considered to be one of the most brilliant British writers. Although she wrote only six novels, they are all highly praised and very popular. They are so popular that today one can find numerous film adaptations and fan fiction novels based on them. The first chapter deals with Austen, her life, family, relationships, and work. The second chapter is about her six novels, arranged here in the order in which they were published: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Persuasion, and Northanger Abbey. The third chapter reviews every film adaptation based on each of the novels. The fourth chapter deals with numerous novels written in the 20th and 21st centuries that are sequels, prequels, variations, or adaptations of Austen’s novels. There is also an extensive list of all those novels divided into categories according to the title of the book on which they are based on. -
Books Owned by Jane Austen's Niece, Caroline, Donated to Chawton House Library
VOL.1 No .4, 2015 Inside this issUE Books owned by Jane Austen’s House of Lords Tea niece, Caroline, donated to Chawton House Library N APRIL THIS YEAR, a North American Friend of Chawton House Library, Sandra Visiting Fellow Alexis Pogorelskin enjoys IClark, came to visit us all the way from afternoon tea with Baroness Williams of Crosby. Texas, bearing gifts. And what special gifts they are! They include a first edition of Frances Burney’s Camilla (1796), and a great many Improved Visitor Experience books to enhance our secondary collection, and our holdings on the Gothic novel. They also included a small collection of books once belonging to Caroline Mary Craven Austen (1805-80). Here, Executive Director Gillian The reference to Jane Austen’s acting skills came Numbers Dow discusses the importance of just one of back to me when I examined the donation from triple as the volumes in this collection, and looks at Sandra Clark. Because one of the books is a book new display what it can tell us about women’s reading, of French plays, an 1813 edition of Stéphanie- cases arrive education for girls, and women’s lives in the Félicité de Genlis’s Théatre à l’usage des jeunes early nineteenth century. personnes. All of Caroline’s books now forming part of the Chawton House Library collection When Sandra Clark came with her generous are delightful material objects. And in the case donation, I was thrilled to see the volumes once of this one, it is of particular interest, since it belonging to Caroline Austen. -
Jane Austen: the Woman Behind Pride and Prejudice
Jane Austen: The Woman behind Pride and Prejudice Kristin Gregory November 17th, 2010 "Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves; vanity, to what we would have others think of us." - “Pride and Prejudice” Kristin Gregory 2 Table of Contents Table of Contents 2 Obituary 3 Jane’s Journal 4-5 A Letter from Cassandra 6-7 Bibliography 8-10 Cover Sheet for Invitation 11 Invitation to Students 12 Rubric 13 List of Authors 14 List of Genres 15 OBITUARY Kristin Gregory 3 end of 1786 at the age of 11. During this time it was believed that Austen began her writing which is housed in three books, Volume the First, Volume the Second and Volume the Third. These books hold her writing from 1786 to 1793. During her early years of writing she began drafts on her more famous works including First Impressions (Pride and Prejudice) and Elinor and Marianne (Sense and Sensibility). Her first book to be published was Sense and Sensibility in 1811 on October 30th, followed by Pride and Prejudice on January 28th, 1813, Mansfield Park on May 9th 1814, Emma in December of 1815, and Northanger Abbey and Persuasion in December of 1817 after her death. Jane Austen never married but still lived a comfortable life in which many AUSTEN, JANE, 41, of 8 College Street described her as having a sweet temper, Winchester, Hampshire, England died patience, hope and a quick wit. Austen was yesterday, July 18th, 1817. -
Jane Austen Article Version 1
56 Days: The Final Chapter of Jane Austen’s Life Jane Maxwell is a Cathedral Guide at Winchester with specialist knowledge of Jane Austen, and she is also a guide at Chawton House Library. In this article she has assembled some extracts of letters and writings, both from Jane and members of her family, which together tell the story of Jane’s last days in Winchester. On 24th May 1817 Jane Austen, accompanied by her sister Cassandra, departed from Chawton Cottage, and travelled to Winchester in the carriage of eldest brother James. They took up lodgings in the home of Mrs David, at No 8 College Street, the arrangements having been made by close friend Mrs Elizabeth Heathcote and her sister Miss Alethea Bigg. This was to be Jane’s home for the last 56 days of her life. As her life drew to a close, her letters related the intimate details of her final struggle. Fig 1 Jane Austen, rear view, by Cassandra Austen reproduced by kind permission of Belinda Austen 27th May 1817, Jane to nephew James Edward Austen: “I know no better way my dearest Edward, of thanking you for your most affectionate concern for me during my illness, than by telling myself as soon as possible that I continue to get better. I will not boast of my handwriting; neither that, nor my face have yet recovered their proper beauty, but in other respects I am gaining strength very fast. I am now out of bed from 9 in the morning to 10 at night – upon the sopha t’is true, but I eat my meals with Aunt Cassandra in a rational way and can employ myself, and walk from one room to another. -
Jane Austen: a Family Record: Second Edition Deirdre Le Faye Frontmatter More Information
Cambridge University Press 978-0-521-53417-8 - Jane Austen: A Family Record: Second Edition Deirdre Le Faye Frontmatter More information JANE AUSTEN: AFAMILY RECORD This book is the outcome of years of research in Austen archives, and stems from the original family biography by W. and R. A. Austen- Leigh, Jane Austen: her Life and Letters. Jane Austen: A Family Record was first published in 1989, and this new edition incorporates information that has come to light since then, and provides new illustrations and updated family trees. Le Faye gives a detailed account of Jane’s life and literary career. She has collected together documented facts as well as the traditions concerning the novelist, and places her within the context of a widespread, affectionate and talented family group. Readers will learn how Jane transformed the stuff of her peaceful life in the Hampshire countryside into six novels that are amongst the most popular in the English language. This fascinating record of Austen and her family will be of great interest to general readers and scholars alike. Deirdre Le Faye has been actively researching the life and times of Jane Austen and her family for the last thirty years. In 1995 she pre- pared a completely new edition of Jane Austen’s Letters. She has also written several other books: a short illustrated biography, Jane Austen (1998), Jane Austen’s ‘Outlandish Cousin’, the Life and Letters of Eliza de Feuillide (2002) and Jane Austen: The World of Her Novels (2002)as well as numerous articles in literary journals. © in this -
1775 on 16 December, Jane Austen, the Seventh of Eight Children Of
Chronology 1775 On 16 December, Jane Austen, the 1803 Austen sells copyright for Northanger Abbey 1940 The Jane Austen Society is founded in seventh of eight children of George (then titled “Susan”) to Benjamin Crosby, England. and Cassandra Austen, is born in a London publisher, for £10. He never The first Austen film,Pride and Prejudice, Steventon, England. published it. starring Greer Garson and Laurence Olivier, is released. 1778 James Gillray is admitted to the Royal 1804 Austen starts drafting The Watsons, an Academy to study engraving. His tenure unfinished novel. 1979 The Jane Austen Society of North America overlaps that of William Blake. is founded. The majority of Gillray’s satirical engravings 1805 Austen’s father dies. appeared between 1793 and 1810. 1995 Colin Firth plays Mr. Darcy in the 1809 Austen settles at Chawton Cottage on her BBC/A&E film version ofPride and Prejudice. 1783 Austen’s brother Edward is formally brother Edward’s estate. Ang Lee’s film of Sense and Sensibility is adopted by Mr. and Mrs. Thomas Knight, nominated for an Oscar for best picture; wealthy distant cousins. 1811 Sense and Sensibility published. Emma Thompson wins an Oscar for best George iii declared insane, the prince of adapted screenplay. 1793 French Revolutionary War with England Wales (future George iv) becomes begins; France and England are at war prince regent. 2007 Becoming Jane, the first feature film inspired by almost continuously until the Battle of Austen’s life and letters, is released. Waterloo in 1815. 1813 Pride and Prejudice published. 2009 Later Manuscripts, the ninth and final volume 1794 The husband of Austen’s cousin Eliza is 1814 Mansfield Park published. -
Humor in Jane Austen's Letters
“The Whinnying of t Harpies?”: Humor in Jane :Li Austen’s Letters JAN FERGUS Jan Fergus, Professor of English at Lehigh University and a frequent speaker at JASNA regional and national meetings, has published a biography of Jane Austen (Jane Austen: A Literary Life), a critical study, and numerous articles. Her most recent book, Provincial Readers in Eighteenth-century England, will be issued by Oxford University Press. The letters that Jane Austen included in the novels are endlessly fascinating, from Darcy’s explanation to Elizabeth to the splendid whining letter from Mary Musgrove to her sister Anne at Bath, the one in which she claims that “‘my sore-throats, you know, are always worse than anybody’s’” (P 164). On a number of occasions, JASNA has called for members to submit let- ters from the characters—and in doing so we are almost following in the footsteps of Austen’s own niece Fanny Knight, who apparently wrote a letter to Jane Austen as though addressed to Georgiana Darcy, hoping to elicit a reply in character. Austen replied, “I cannot pretend to answer it. Even had I more time, I should not feel at all sure of the sort of Letter that Miss D.[arcy] would write” (24 May 1813).1 We are all as readers, I think, a little overcome when Austen herself tells Fanny that she doesn’t know what Georgiana would write. How can we possibly understand that statement? How can Austen not know?—she who gives the impression of knowing everything about her characters though telling us at best only half, she who makes us feel as though we know her characters intimately, more so than some of our acquaintances. -
Henry James, Women Writers, and the Friendly Narrator
Misreading Jane Austen: t Henry James, Women :L Writers, and the i Friendly Narrator WILLIAM C. DUCKWORTH, JR. William C. Duckworth, a retired chemical engineer, has published articles on chemi- cal technology and English literature, as well as poetry. He now confines himself to literary endeavors. A legion of Jane Austen’s readers would agree when Mal- colm Bradbury observes that Jane Austen, “a great artist working in a small compass,” has constructed a reader who can recover from her novels an experience of life “as serious and intense as even Henry James could wish for” (186). However, Henry James would not have agreed. Though he assigned to her a high rank among novelists, saying that she is “shelved and safe for all time,” “close to reality,” and that “the tissue of her narrative is close and firm,” he spoke patronizingly of her unconscious wool-gathering, criticized the absence in her works of striking examples of com- position, distribution, and arrangement, and called her heroines “she-Philistines.” One is surprised by these severe criticisms of the novelist he called “dear old Jane Austen,” who devised and prac- ticed literary techniques that he later developed. Why did Austen fail to win a perceptive reader like James who was so indebted to her? An examination of James’s view of women writers and Austen’s narrative technique, and of the relation of these two fac- tors to Henry James’s criticisms of Jane Austen, will enable us to better understand James’s comments on his great predecessor. In a letter of 8 April 1883, James wrote to the publisher of 96 PERSUASIONS No.