Jane Austen, Her Life and Letters
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INTRODUCTION: DID JANE AUSTEN REALLY MEAN THAT? 1. the Novels Oj}Ane Austen, Edited by R
NOTES INTRODUCTION: DID JANE AUSTEN REALLY MEAN THAT? 1. The Novels oj}ane Austen, edited by R. W. Chapman. Further references from Austen's novels are to this edition and are included in the text. 2. Claudia Johnson forged a new direction for Austen studies in Jane Austen: WrJmen, Politics, and the Novel. I am deeply indebted to her work as weil as to that of William H. Galperin, The Historical Austen, Deidre Shauna Lynch, The Economy of Character: Novels, Market Culture, and the Business ofInner Meaning, and Mary Ann O'Farrell, Telling Complexions: The Nineteenth-Century English Novel and the Blush. That said, different concerns do shape my project. O'Farreil and I share a central focus on the body in Austen, though we tend to move in dissimilar directions about the kind of somatic work this novelist performs; while O'Farrell commits herself to an understanding of the blush as an expression of pleasure, she also analyzes it in su btle Foucauldian terms as a regulatory device. Lynch's book places Austen at the capstone of her ambitious study of the relationship between the novel's development and economic change; in this context, she demon strates how the kind of "characters" associated with the novel (individ uals with depth) emerge as a way for people to accommodate themselves to a new and commercialized world. I share with her an interest in the play between surface and depth in characters, and my focus on material objects opens an avenue, I hope, for further explo ration of how Austen uses things to foster a sense of inwardness for the characters in her fiction. -
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). -
Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen)
Not Said But Shown 432 17. Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen) ----- Marianne Dashwood at seventeen believes in “wholeheartedness.” One should cultivate right feelings as far as one possibly can, and express them frankly and to the full; and all with whom one can relate properly must do the same. One’s feelings should be intense, and the expression of them should be enthusiastic and eloquent. Towards those whose feelings are right, but who cannot achieve this freedom of expression, one must be charitable; but one should avoid all whose thought and behavior is governed by convention. Following convention corrupts one’s “sensibility,” so that one can no longer tell what the truth of natural feeling is. Thus, when Edward Ferrars and Marianne’s sister Elinor become mutually attached, Marianne approves of Edward — and she certainly agrees with her mother, who says, “I have never yet known what it was to separate esteem and love” (SS, I, iii, 16). But she cannot imagine how Elinor can be in love with Edward, because he lacks true “sensibility.” “Edward is very amiable, and I love him tenderly. But . his figure is not striking . His eyes want all that spirit, that fire, which at once announce virtue and intelligence . he has no real taste . I could not be happy with a man whose taste did not in every point coincide with my own . how spiritless, how tame was Edward’s manner in reading to us last night! . it would have broke my heart had I loved him, to hear him read with so little sensibility” (17-8). -
Reading Austen's Lady Susan As Tory Secret History
Document generated on 09/26/2021 10:23 a.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Reading Austen’s Lady Susan as Tory Secret History Rachel Carnell Volume 32, 2013 URI: https://id.erudit.org/iderudit/1015480ar DOI: https://doi.org/10.7202/1015480ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Carnell, R. (2013). Reading Austen’s Lady Susan as Tory Secret History. Lumen, 32, 1–16. https://doi.org/10.7202/1015480ar All Rights Reserved © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 2013 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Reading Austen’s Lady Susan as Tory Secret History Rachel Carnell Cleveland State University Anne Elliot famously observes to Captain Harville in Jane Austen’s Persuasion that men have the advantage over women in having written the -
Jane Austen: the French Connection 107 with Footnotes on Every Page
Jane Austen: t The French Connection :Li JOAN AUSTEN-LEIGH Joan Austen-Leigh is the co-founder, with Jack Grey and Henry Burke, of the Jane Austen Society of North America. For nineteen years, she edited this journal. Mr. Austen was once asked by a neighbor, a man of many acres, whether Paris was in France or France was in Paris. I cannot help but feel that I have almost as little right as that shamefully clueless squire to be addressing the subject of Jane Austen and the French Connection. Now, having delivered myself of that disclaimer, the first aspect of this subject that interests me, especially as I am deficient in that respect myself, is, how well did Jane Austen speak French? If she were here with us today, would she be quite at ease in Quebec City, choos- ing some gloves or purchasing a sponge cake? First, it’s time for a brief history lesson from your impartial, unprejudiced, and, until beginning to work on this paper, abysmally ignorant historian. I have now informed myself that sixteen years before Jane Austen was born, on September 13, 1759, Wolfe defeated Montcalm. The battle lasted one hour, and the history of Canada was forever changed. It has been estimated that there were, then, approximately sev- enty thousand French settlers. Today, in a Canadian population of about twenty-nine million, more than four million speak French only. Why do I tell you these things? Because the French, as a nation, have always been protective of their language and culture, and I have 106 PERSUASIONS No. -
Silence and the Duel in Sense and Sensibility
“He to defend: I to punish”: Silence and the Duel in t Sense and Sensibility :Li VINCE BREWTON Vince Brewton (email: [email protected]) is Assistant Professor of English at the University of North Alabama. He has written for The Southern Quarterly and The Continuum Encyclopedia of American Literature. His ongoing research reflects on the relationship between identity and violence. A t the heart of Sense and Sensibility we find a little-noted duel, an affair of honor conducted between Colonel Brandon and Willoughby, two of the three male principals in the novel. The duel, though heavy with significance for the novel, is interestingly underemphasized in the text itself and largely unacknowledged in critical discussion. A Regency duel is an example of what Peter Gay calls “the cultivation of hatred,” i.e., the sub- limation of raw aggression as well as the deliberately nurtured expression of that same resentment.1 The “hatred” sufficient to provoke a duel arises over Willoughby’s seduction of Brandon’s ward, Eliza, and the duel exists for the reader only because its participants engage in a secondary discur- sive “duel” on the “site” of Elinor Dashwood, each confiding in her his grievance and his justification for his conduct. While the duel is never revealed to us in its details directly or indi- rectly, it is significant as an emblem of the power relations informing the plot of Sense and Sensibility. I want to place the unconsidered duel within the framework of power relations in the work while at the same time undertaking to read the novel in light of the duel’s significance and deter- mine the extent to which it alters or affirms our approach to the text. -
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. -
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. -
The Influence of Naval Captain Charles Austen's North American
y y The Influence of Naval Captain Charles Austen’s North : u : American Experiences on Persuasion and Mansfield Park SHEILA JOHNSON KINDRED Sheila Johnson Kindred teaches Philosophy at Saint Mary’s University in Halifax, Nova Scotia, Canada. As a member of the Nova Scotia chapter of JASNA and the Kent Branch of JAS she has lectured and published on Jane Austen in both North America and England, including a contribution to Jane Austen and the North Atlantic. T of Jane Austen’s naval characters sparkle with animation and authenticity. In Persuasion we meet Captain Frederick Wentworth , who has become very wealthy by the capture of naval prize and is known for his “great deal of intelligence, spirit and brilliancy” (26). In company is his sister , the good - humored Mrs. Croft, who makes a strong impression as the eminently practical naval wife of the likable Rear-Admiral Croft. In Mansfield Park Midshipman William Price delivers spirited narratives, which are “proof of . [his naval] knowledge, ener- gy, courage and cheerfulness” (236). These characterizations evince a surprising knowledge of sea -going life for someone who lived deep in the English countryside. So how did Jane Austen come by the information she needed to create these naval figures ? One of her most important sources was her brother Charles , who, as an officer in the British navy during the Napoleonic wars, was stationed in North America for over six years between 1805 and 1811. His naval expertise and ex - ploits cruising the Atlantic Ocean and capturing prize vessels, his love match to the beautiful young Fanny Palmer of Bermuda, and his social and professional life with “brother o fficers ” all find echoes in Persuasion and Mansfield Park . -
Elinor Dashwood in Sense and Sensibility
SUMMARY -139- Elinor Dashwood in Sense and Sensibility KITAWAKI Tokuko Sense and Sensibility was Jane Austen’s first novel published in 1811. Its first manuscript was entitled Elinor and Marianne, which was written as the story of two sisters in 1795. This story was rewritten twice in the sixteen years before its publication. Sense and Sensibility is regarded as a debate or a dialogue. Elinor Dashwood is a symbol of sense and Marianne Dashwood is that of sensibility. Jane Austen tried to let sense and sensibility have a dialogue through this novel. In the end of the story we are able to deepen our understand- ing of these two ideas. Elinor is intellectual and prudent, but she is affectionate and her feelings are strong. Marianne is emotional and imprudent, but she is also sensible and clever. We should not think of one as superior to the other. Both Elinor and Marianne are more or less endowed with sense and sensibility. Marianne’s behaviour is based on her own feelings, and she often ignores the feelings of other people. Her slightest consideration of circumstances invites ultimately her sufferings. In spite of Elinor’s advice to pay much attention to formal social activities, Marianne will never listen to her and indulges herself in loving a play boy. She was betrayed by the materialist Willoughby, who was engaged to the wealthy Miss Grey. Marianne suffers from his desertion and becomes seriously ill. Through these sufferings she learns to thank the people around her and behave properly. Elinor is always thinking of the feelings of other people and controls her own strong feelings. -
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 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.