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JANE AUSTEN the NOVELIST Also by Juliet Mcmaster

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JANE AUSTEN the NOVELIST Also by Juliet Mcmaster JANE AUSTEN THE NOVELIST Also by Juliet McMaster DICKENS THE DESIGNER JANE AUSTEN'S ACHIEVEMENT (editor) JANE AUSTEN ON LOVE THE NOVEL FROM STERNE TO JAMES (co-author with Rowland McMaster) THACKERAY: THE MAJOR NOVELS TROLLOPE'S PALLISER NOVELS Jane Austen the Novelist Essays Past and Present Juliet McMaster First published in Great Britain 1996 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG2l 6XS and London Companies and representatives throughout the world A catalogue record for this book is available from the British Library. ISBN 978-1-349-39165-3 ISBN 978-0-230-37546-8 (eBook) DOI 10.1057/9780230375468 ---- first published in the United States of America 1996 by ST. MARTIN'S PRESS, INC., Scholarly and Reference Division, 175 Fifth Avenue, New York, N.Y. 10010 ISBN 978-0-312-12753-4 Library of Congress Cataloging-in-Publication Data McMaster, Juliet. Jane Austen the novelist: essays past and present I Juliet McMaster. p. cm. Includes bibliographical references and index. ISBN 978-0-312-12753-4 1. Austen, Jane, 1775-1817-Criticism and interpretation. 2. Women and Iiterature-England-History-19th century. I. Title. PR4037.M35 1996 823'.7-dc20 95-14700 CII' © Juliet McMaster 1996 Softcover reprint of the hardcover 1st edition 1996978-0-333-59926-6 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London WI P 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. 10 9 876 5 4 3 2 05 04 03 02 01 00 99 98 97 96 To Valentine and Hugh, kind sister and brother-in-law, with lasting affection, and thanks for your years of toleration and support of my Jane Austen doings Contents List of IIlustrations viii Texts and Abbreviations ix Preface xi Acknowledgements xiv Part I 1 Jane Austen as a Cultural Phenomenon 3 2 Teaching "Love and Freindship" 18 3 "The Beautifull Cassandra" Illustrated 36 4 Hospitality 47 5 "God Gave Us Our Relations": The Watson Family 59 6 " Acting by Design" in Pride and Prejudice 76 7 The Secret Languages of Emma 90 Part II Love in Jane Austen's Novels - A Preface to Chapters 8-11 109 8 The Symptoms of Love 111 9 Surface and Subsurface 133 10 Love and Pedagogy 150 11 Women in Love 173 Index 199 vii List of Illustrations Genealogies in "Love and Freindship" 31 "Cassandra was the Daughter and the only Daughter of a celebrated Millener in Bond Street" 37 "She placed it on her gentle Head & walked from her Mother's shop to make her Fortune" 40 "She next ascended a Hackney Coach and ordered it to Hampstead" 42 viii Texts and Abbreviations References to Jane Austen's works are to R. W. Chapman's editions: The Novels of Jane Austen, ed. R. W. Chapman, 5 vols, 3rd edition (London: Oxford University Press, 1932-4), 5th impression. Minor Works, ed. R. W. Chapman (London: Oxford University Press, 1954), reprinted with revisions 1963. Jane Austen's Letters to her Sister Cassandra and Others, ed. R. W. Chapman, 2nd edition (London: Oxford University Press, 1952). E Emma Letters Jane Austen's Letters to her Sister Cassandra and Others MP Mansfield Park MW Minor Works NA Northanger Abbey P Persuasion PP Pride and Prejudice SS Sense and Sensibility ix Preface To begin with an anecdote: On the day I draft this preface, Jane Austen has claimed a ttention in no less than four book projects - all of which are either in process, like the one I am writing at this very minute, or projected for the future. And if a single critic is involved in four at a time, how many books on her must there be out there, growing week by week? Here's how the day has gone. With my colleague and co-editor, Bruce Stovel, I have been contacting contributors about last-minute changes to the volume of essays we call Jane Austen's Business, a col­ lection resulting from the large-scale conference of the Jane Austen Society of North America which he and I convened in the autumn of 1993 at Lake Louise, in the Canadian Rockies. The contributors include such people as Margaret Drabble and Elaine Showalter, and the con­ ference, in spite or because of its remote setting, drew six hundred delegates. That's one book project. Also on this day arrived readers' reports on a projected Cambridge Companion to Jane Austen, very positive. (How could a reader not be positive about such a Companion?). That volume Ed Copeland of California and I are co-editing, and we have the go-ahead on it from Cambridge University Press. Also on this day came a phone call from a colleague in Texas, sound­ ing me out as a co-editor of a volume of essays that may result from the next Society conference, to be held in New Orleans on the theme of revolution in Jane Austen's writings. A prominent Austen scholar in England is interested in such a volume for a British press he is con­ nected with. And then of course there's the present volume, of my own essays past and present, with an opening essay on "Jane Austen as a Cultural Phenomenon," which engages these very issues of how many people are reading Jane Austen, and how many books there are on her. Why do I feel as though I am riding a wave? - indeed thundering in to shore with the surf breaking all around me. It may be a phenomenon peculiar to the circles I move in that Jane Austen is receiving unprecedented attention; but if so, those circles are certainly getting bigger and bigger. Jane Austen is news. Jane Austen is business. In academe her status has never been higher, and xi xii Preface has had an extra impulse with feminist approaches. And the popular following is even greater than in the heyday of the Janeites, early in the century. I'd rather join the stampede (a fairly decorous one, let me admit) than disapprove of it. The essays that follow have been writ­ ten as part of an academic career; but I hope they speak also to those who read Jane Austen simply for recreation. They are about what we all care for: the development of her art; her characters and their lan­ guage; her sense of community; and love. Jane Austen's habit of mind is to move easily from the particular example to the general proposition, and back again, with a due enrich­ ment of both. In writing and rearranging the essays that follow, I have tried to do something similar, alternating the long-distance look with close-up examination. Some of these essays are overviews of an over­ arching theme, some individual studies. The first essay, on Jane Austen's growing place in our culture, is the one written most recent­ ly, and I draw on my long association with the Jane Austen Societies on both sides of the Atlantic, as well as on my experience in teaching and criticism, to examine the extraordinary popular following that she still attracts, as well as her high status among academics. Why all the fuss about Jane Austen? - ask the ones who are not making the fuss. That is a large and general question, and part of the answer is a documentation of the fuss. The essay on "Hospitality" as a recurring concern in Austen's works' was written for a particular occasion, as is still apparent. It engages large issues of the social ties that bind the characters of the novels together (or divide them), and define her society. The same can be said of the final group of essays on love in her novels. Here I chal­ lenge Charlotte Bronte's contention that Austen as a novelist lacks passion. Not so, I claim. Three of these essays first appeared in a lit­ tle book called Jane Austen on Love; the last, on the "Women in Love," is new to this volume, and will be detected as being of more recent date in showing the influence of feminist criticism, which has so changed and enlarged our way of reading the novels. Within these general essays, however, I still tend to move in to close examination of individual texts - my principle being that if you're dealing with a stylist of Jane Austen's calibre it's a waste not to quote her amply. In between come several close-up studies. I rejoice in Jane Austen's juvenilia, and have probably paid more sustained attention to "Love and Freindship" and "The Beautifull Cassandra" than anyone else in print. The tantalising fragment The Watsons, too, coming as it does between Jane Austen's two creative periods of the 1790s and the 181Os, Preface xiii invites more attention than it has received, and I'm not one to tum down an invitation. I have no such excuse for writing about Pride and Prejudice and Emma, as they have been, and continue to be, very thor­ oughly worked over. But I claim a right to have my say too. These essays have been written over two decades, and I don't pre­ tend to a unity of approach.
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