This collection of excerpts offers a detailed look into the life and works of Jane Austen, drawing from a critical companion. It provides biographical information, including her family, education through reading, and significant life events such as moves and her final years. The text also explores various aspects of her writing, examining her juvenilia, individual novels like Emma, Mansfield Park, Northanger Abbey, Persuasion, and Pride and Prejudice, and unfinished works. Furthermore, it covers critical interpretations, literary influences, and the social and historical context surrounding Austen’s life and novels, including details on marriage, society, and even theatricals.

Jane Austen Source Material Study Guide

Source Material Study Guide

Quiz

1. What were some of the literary interests of the young Jane Austen, and what kind of family environment fostered these interests?
2. Describe the plot of “From A Mother to her Friend” as summarized in the provided text. What tradition does this letter mock?
3. Explain Mr. Weston’s connection to the militia, and what broader historical context is linked to this detail in Emma.
4. How does Emma initially perceive Mr. Martin, and what does this reveal about Emma’s understanding of social hierarchy?
5. According to the text, what is Emma’s view on the relationship between a narrow income and one’s disposition? How does Miss Bates challenge this view in Emma’s eyes?
6. Describe the events at the Christmas Eve dinner at Randalls that highlight Emma’s misinterpretations of Mr. Elton’s affections.
7. What secret does Mr. Weston mention that the narrator suggests is a recurring theme in Jane Austen’s novels?
8. Summarize the incident involving Jane Fairfax at Weymouth as recounted by Miss Bates.
9. What are some of the key characteristics of Miss Bates’s dialogue and her general outlook on life, as illustrated in Chapter 21 of Emma?
10. How does Henry Crawford’s plan to “make Fanny Price in love with” him relate to his character as presented in the source material?

Quiz Answer Key

1. Young Jane Austen read voraciously in Shakespeare, English history and fiction, contemporary fiction, and 18th-century philosophers, moralists, and poets. Her father, a rector, surrounded her with books and intellectual conversation, fostering her literary development despite the family’s modest wealth. Family favorites included authors like Samuel Richardson, Henry Fielding, Laurence Sterne, Tobias Smollett, and Oliver Goldsmith.
2. “From A Mother to her Friend” depicts two young sisters being introduced to the “wonderfull Things,” including “Follies & Vices” of the world by their doting mother during a tea party with Mrs. Cope and her daughter. The actual tea party, though described as “mighty,” receives little attention, and the mother and daughter return home happy. This letter mocks the tradition of the moral and didactic epistle perfected by Richardson and used in periodicals.
3. Mr. Weston joined the county militia to satisfy his “active cheerful mind and a social temper” as he was “indisposed for any of the more homely pursuits” of his brothers. This reference to the militia in Emma evokes the backdrop of the Napoleonic Wars and the revival of volunteer forces in England to supplement the regular military after the declaration of war on Revolutionary France in 1793.
4. Emma initially perceives Mr. Martin as “very plain” and finds the idea of a “young farmer” raising her curiosity to be absurd, stating that “the yeomanry are precisely the order of people with whom I feel I can have nothing to do.” This reveals Emma’s strong sense of social hierarchy and her belief that she is above interacting with those who work the land independently.
5. Emma believes that a “very narrow income has a tendency to contract the mind, and sour the temper,” leading those who barely survive in inferior society to be “illiberal and cross.” However, she finds Miss Bates an annoying exception, as Miss Bates is poor and unmarried yet well-liked, with a generous spirit that contradicts Emma’s economic determinism.
6. At the Christmas Eve dinner at Randalls, Emma misinterprets Mr. Elton’s eagerness to attend despite Harriet’s illness and John Knightley’s offer of a carriage seat. Emma, “too eager and busy in her own previous conceptions and views,” fails to recognize Elton’s attentions were directed at her, instead rationalizing his behavior as typical of “single men.”
7. Mr. Weston tells Emma, “there are secrets in all families, you know.” The narrator suggests that the unraveling of family secrets is a recurring motif in the plots of Emma and Jane Austen’s other novels.
8. Miss Bates recounts that while at Weymouth, Mr. Dixon saved Jane Fairfax from being “dashed into the sea at once” when something suddenly whirled around among the sails. He caught hold of her habit at the last moment, preventing a serious accident.
9. Miss Bates’s dialogue is characterized by its garrulous, disconnected nature, often punctuated by parentheses and seemingly tangential details, yet it manages to convey a good deal of information. Despite her poverty and deafness in her family, her outlook is consistently positive, seeing “permanent silver linings” and emphasizing the worthiness of her acquaintances.
10. Henry Crawford’s plan to make Fanny Price fall in love with him stems from a desire to “amuse” himself and to conquer a challenge, as Fanny is indifferent to his charms. This reveals his manipulative nature and a tendency to treat relationships as a game, driven by vanity and a need for conquest rather than genuine affection.

Essay Format Questions

1. Explore the significance of social class and economic status in the excerpts provided, analyzing how these factors influence the characters’ perceptions and interactions in the world depicted.
2. Discuss Jane Austen’s narrative techniques evident in the excerpts, focusing on the use of dialogue, free indirect discourse, and the omniscient narrator to convey character and advance the plot.
3. Analyze the presentation of marriage and relationships in the excerpts, considering the motivations of characters, the role of societal expectations, and the varying perspectives on love versus security.
4. Examine the role of minor characters like Miss Bates and Mrs. Bennet in the excerpts, and how they contribute to the overall themes and satirical elements of Austen’s work.
5. Considering the historical context alluded to in the excerpts, such as the Napoleonic Wars and social customs, discuss how these background elements shape the narratives and the lives of the characters.

Glossary of Key Terms

• Didactic Epistle: A letter intended to instruct or teach a moral lesson.
• Omniscient Narration: A narrative perspective where the narrator knows the thoughts and feelings of all the characters and can comment on the events of the story.
• Free Indirect Discourse: A style of third-person narration which adopts the speech and thoughts of a character without the use of direct quotation marks or explicit reporting clauses.
• Yeomanry: Small landowners or renters who work their own land and often formed voluntary forces for local peace and order.
• Erlebte Rede: A German term for free indirect discourse, representing a character’s thoughts or feelings expressed within the narrative.
• Militia: A part-time military force composed of citizen-soldiers, often raised for local defense.
• Gothic Novel: A genre of literature characterized by elements of mystery, horror, and the supernatural, often set in gloomy or isolated locations.
• Baronetcy: An inherited title of honor ranking below a baron but above a knight.
• Quarter Day: One of the four days in the year (March 25, June 24, September 29, December 25) when rents and other quarterly payments are typically due.
• Bon Mot: A witty remark or saying.
• Furlong: A unit of length equal to one-eighth of a mile, or 220 yards.
• Ha-ha: A type of boundary ditch or sunken fence that keeps livestock in without obstructing the view.
• Man of the World: A person experienced in the ways of society, often implying sophistication, worldliness, and sometimes moral flexibility.
• Evanescent: Lasting only for a short time; fleeting.
• Indiaman: A large merchant ship belonging to companies trading with the East Indies, such as the East India Company.
• Midshipman: A junior officer in the navy, still in training.
• Sloop: A small, single-masted sailing vessel with a fore-and-aft rig, historically used as a ship of war.
• Lieutenent: A commissioned officer in the armed forces, ranking below a captain.
• Boatswain: A warrant officer on a ship responsible for the ship’s rigging, sails, cables, and sometimes its crew.
• Disesteem: Lack of respect; disapproval.
• Tout Ensemble: (French) The overall effect or impression.
• Rattle: A silly, vain person who chatters too much.
• “Design”: In the 18th century, this word often referred to intention or purpose, especially in planning or arranging something.
• Hack Chaise: A light, two-wheeled carriage drawn by one horse and available for hire.
• Janeites: Devoted admirers of Jane Austen and her works.
• Juvenilia: Literary works produced by an author in their youth.
• Sensibility: An 18th-century concept referring to a heightened capacity for emotional and aesthetic feeling.

Briefing Document: Themes and Ideas in Jane Austen and Her Works

This briefing document summarizes the main themes, ideas, and important facts presented in the provided excerpts from “0040-Critical Companion to Jane Austen_ A Literary Reference to Her Life and Work.” The document draws upon biographical information, synopses of early works, and detailed analyses of Emma, Mansfield Park, Pride and Prejudice, Persuasion, Sense and Sensibility, and Sanditon, as well as the juvenilia Love and Freindship and The Three Sisters.

I. Jane Austen’s Life and Context:

• Family and Intellectual Environment: Jane Austen was born into a family that, while not wealthy, was intellectually and culturally engaged. Her father was a rector, and she was surrounded by books. Her reading was voracious and included Shakespeare, English history and fiction, contemporary fiction, and 18th-century philosophers, moralists, and poets. Family favorites included authors like Samuel Richardson, Henry Fielding, Laurence Sterne, Tobias Smollett, and Oliver Goldsmith.
• “Although the family was far from wealthy, her father being a rector, she was surrounded by books and by intellectual and cultural conversation. Fam-ily favorites included the fiction of SAMUEL RICH-ARDSON and HENRY FIELDING, LAURENCE STERNE, Tobias Smollett, and OLIVER GOLDSMITH’s four-volume The History of England, from the Earliest Times to the Death of George II (1771), among other works readily available to the young Jane Austen.”
• Naval Connections: Two of Jane Austen’s brothers, Francis William and Charles John, joined the navy and both achieved the rank of admiral. Their careers and promotions are mentioned in her letters, highlighting the importance of naval life during this period.
• “her fifth and her youngest brothers, joined the navy and both reached the rank of admiral.”
• “Jane and Cassandra’s brother Charles had been promoted to lieutenant, and the letters toward the end of 1798 are replete with information concerning the ambitions of both her sailor brothers.”
• Personal Life: The excerpts provide glimpses into Austen’s personal life through references to family visits and events, such as Edward Austen’s visit to Steventon and subsequent trip to Bath with Jane and their mother.

II. Early Works and Themes:

• Love and Freindship: This early work, presented as a collection of letters, satirizes the conventions of sentimental novels, particularly the “moral and didactic epistle perfected by Richard-son.” It mocks the exaggerated emotions and improbable events often found in such literature.
• “The five letters are described in the dedication as a “Clever Collection of Curious Comments, which have been Carefully Culled, Collected & Classed by your Comical Cousin.” The first, “From A Mother to her Friend” (150), according to Southam in Jane Austen’s Literary Manuscripts, “mocks the tradition of the moral and didactic epistle, perfected by Richard-son and subsequently used as an editorial device in the periodicals” (31).”
• Parody and Social Commentary: Even in her early writings, Austen demonstrates a keen eye for social conventions and a propensity for parody. Characters like Sir Godfrey and Lady Marlow, described as “very sensible people” who “sometimes did a foolish thing,” highlight the gap between societal ideals and human behavior. The numerous children of Mr. and Mrs. Willmot, too many to be described, may also be a subtle comedic touch.

III. Emma:

• Social Hierarchy and Class: Emma deeply explores the intricacies of social hierarchy in the village of Highbury. Emma’s disdain for the yeomanry, exemplified by her reaction to Mr. Martin, reveals the rigid social boundaries and her privileged perspective.
• “A young farmer, whether on a horseback or on foot, is the very last sort of person to raise my curiosity.” She adds that “the yeomanry are precisely the order of people with whom I feel I can have nothing to do.” The yeoman are the small landowners, or in the Mar-tins’ case, renters who work the land and gather together in voluntary forces to ensure peace and order and maintain the status quo.”
• Economic Influence on Character: The novel touches upon the impact of economic circumstances on personality. Emma believes a “very narrow income” can “contract the mind, and sour the temper.” Miss Bates, however, serves as a counter-example, being poor yet universally liked, suggesting the complexity of human character beyond economic status.
• “a “very narrow income,” Emma tells Harriet, “has a tendency to contract the mind, and sour the temper.” She elaborates, “Those who can barely live” survive economically “and who live perforce in a very small, and generally inferior society, may well be illiberal and cross.””
• “Poverty certainly has not contracted her [Miss Bates’s] mind” and Emma adds, “I really believe, if she has only a shilling in the world, she [Miss Bates] would be very likely to give away a sixpence of it.” In addition, “nobody is afraid of her: that is a great charm.””
• Marriage and Expectations: The focus on eligible individuals and potential pairings, such as the early interest in Mr. Elton’s marital prospects and the arrival of Frank Churchill, underscores the societal importance of marriage for women. Emma’s own evolving views on marriage and her initial blindness to Mr. Knightley’s feelings are central to the plot.
• Misperception and Self-Deception: Emma’s tendency to misinterpret social cues and her own feelings is a recurring theme. The omniscient narrator highlights her “too eager and busy in her own previous conceptions and views to hear [Elton] impartially, or see him with clear vision.”
• Family Secrets: Mr. Weston’s remark, “there are secrets in all families, you know,” foreshadows the unraveling of hidden connections and motivations, a common feature of Austen’s plots.
• Narrative Style: The analysis of Chapter 16 highlights Austen’s masterful use of free indirect discourse, blending the narrator’s voice with Emma’s thoughts, creating ambiguity and inviting reader interpretation.
• Social Gatherings and Communication: Events like dinner parties and social calls serve as crucial settings for the development of relationships and the revelation of character. The Coles’ dinner party, for instance, becomes a stage for speculation and shifting alliances. Miss Bates’s “garrulous, disconnected way” often inadvertently conveys important information.
• Irony and Wordplay: The use of the word “deedily” to describe Frank Churchill’s attention to Mrs. Bates’s spectacles is identified as ironic, highlighting his ulterior motives in interacting with Jane Fairfax.
• Themes of Health: Harriet’s cold disrupting Emma’s plans and the frequent mention of Perry the apothecary indicate the significance of health and illness in the social interactions of the time.
• Music as a Social and Emotional Outlet: The arrival of Jane Fairfax’s piano and the subsequent discussions and performances underscore the importance of music as a social accomplishment and a means of emotional expression for women.

IV. Mansfield Park:

• Benevolence and Self-Interest: Mrs. Norris’s proposal to take in Fanny Price is analyzed through the lens of 18th-century moral philosophy, where “benevolence” was a valued trait. However, the text suggests Mrs. Norris’s self-interest also plays a significant role.
• Upbringing of Women and Social Expectations: The discussion between Edmund and Mary Crawford on “motives of vanity” and “real modesty” in young women highlights the societal pressures and expectations placed upon them. Fanny Price’s position as “not out” signifies her limited social participation.
• The Impact of Wealth and Property: The narrator’s commentary on Maria Bertram’s reaction to the Sotherton estate emphasizes the influence of wealth and property on human behavior and values, foreshadowing the consequences of her “vanity and pride.”
• Language and Meaning: The explication of phrases like “bon mot,” “a ha-ha,” and “man of the world” reveals the nuanced language and social codes of the period. The ambiguity of “man of the world” suggests themes of worldly experience and sexual awareness.
• Theatricals and Social Boundaries: The discussion of the proposed theatrical performance at Mansfield Park reveals Henry Crawford’s “riotous” nature and his desire for amusement, even at the expense of social conventions. Shakespearean allusions further enrich the characterization.
• Fanny’s Social Integration: Fanny’s gradual inclusion in the social world, symbolized by her invitation to dine at the Grants’, is portrayed as a significant step in her life.
• Henry Crawford’s Manipulation: Henry’s plan to make Fanny fall in love with him is presented as a cynical exercise, driven by a desire to avoid “the bread of idleness.” His motivations are linked to vanity and a need for conquest.
• Moral Integrity vs. Accomplishment: Fanny’s “disesteem” for Henry Crawford, despite acknowledging his wit and charm, underscores her strong moral compass and her judgment of his character.
• Naval Life and Social Mobility: The reappearance of Fanny’s brother William and the details of his naval career, including his ship and rank, provide insights into the opportunities and limitations of naval service.
• Female Dependence and Social Standing: Henry and Mary Crawford’s observations on Fanny’s dependent and friendless state highlight the precarious position of women without independent means.
• Marriage for Convenience vs. Affection: The societal pressure on individuals to marry well, often regardless of affection, is a recurring theme, evident in discussions surrounding potential matches.
• Consequences of Immoral Behavior: The fallout from Maria Bertram and Henry Crawford’s affair illustrates the severe social repercussions of transgressing societal norms, particularly for women. Mrs. Norris’s condemnation of Fanny and Sir Thomas’s concern for Maria’s ruined reputation highlight these consequences.
• Edmund’s Moral Development: Edmund’s realization of Mary Crawford’s flawed values and his ultimate return to Fanny suggest a journey of moral awakening.
• Critique of Power and Social Structures: The analysis of Tom Bertram’s character, even in his “duplicitousness or double talk,” is linked to broader “ugly facts about power” within the novel.
• Mr. Price as a Naval Figure: Fanny’s father is portrayed as a man whose world is confined to the “Portsmouth dockyard, harbor, and the navy.” His coarse behavior and violent language are noted, as is his lack of curiosity beyond his immediate naval concerns.

V. Pride and Prejudice:

• Social Introduction and Marital Prospects: The opening of the novel focuses on the arrival of the wealthy and single Mr. Bingley, immediately sparking the interest of Mrs. Bennet and other mothers eager to secure advantageous marriages for their daughters. The social rituals surrounding introductions and visits are highlighted.
• First Impressions and Prejudice: Darcy’s initial arrogance and Elizabeth’s spirited reaction establish the central conflict and the theme of judging individuals based on first impressions and social standing. Darcy is quickly labeled “the proudest, most disagreeable man in the world.”
• Social Commentary through Dialogue: The witty and often ironic dialogue, particularly between Mr. and Mrs. Bennet, serves as a vehicle for social commentary and reveals their contrasting perspectives on marriage and social advancement.
• The Significance of “Design”: Mr. Bennet’s use of the word “design” in relation to Bingley’s settling in the neighborhood highlights the underlying intentions and societal expectations surrounding marriage and social maneuvering.
• Competition and Social Rivalry: The presence of other eligible young women, such as Sir William Lucas’s daughter, underscores the competitive nature of the marriage market.
• Parental Influence and Daughter’s Agency: Mr. Bennet’s initial assertion that Bingley can “marry which ever he chuses of the girls” reflects the limited agency afforded to women in choosing their spouses.
• Character Revelation through Speech: Mrs. Bennet’s preference for Jane’s beauty and Lydia’s good humor over Elizabeth’s perceived lack of these qualities reveals her superficial values. Her use of the word “handsome” for women reflects societal norms of the time.
• The Importance of Character vs. Fortune: Mr. Bennet’s emphasis on knowing “what a man really is” before marriage contrasts with Mrs. Bennet’s focus on wealth and social status.
• Social Etiquette and Rules: Mr. Bennet’s explanation of the proper order of social visits underscores the importance of etiquette in maintaining social order.
• Social Gatherings as Sites of Mate Selection: The ball at the Assembly Rooms is explicitly framed as an opportunity for mothers to “meet their potential prey, the eligible Mr. Bingley.”
• Rumor and Social Perception: The circulation of rumors about the size and composition of Bingley’s party highlights the role of gossip and social perception in shaping expectations.
• Contrasting Personalities and Social Interactions: The descriptions of Bingley’s amiable nature and Darcy’s proud demeanor establish a key contrast. The negative connotation of “disgust” in Austen’s time, implying distaste, is noted in relation to the initial reactions to Darcy.
• Antithesis and Balance in Narrative Structure: The text points out the use of antithesis in the descriptions of Bingley and Darcy, as well as in the discussion of “pride” and “vanity,” revealing a deliberate structural and thematic balance in Austen’s writing. Mary Bennet’s distinction between pride and vanity offers a deeper exploration of these concepts.
• Changing Social Customs: The young Lucas boy’s reference to foxhunting reflects the gradual shift in popular country pursuits among the wealthy.
• The Militia and Social Life: The presence of the militia near Brighton provides a backdrop for social interactions and romantic entanglements, particularly for the younger Bennet sisters.
• Consequences of Impetuous Actions: Mr. Bennet’s regret for not saving adequately for his family and his reaction to Lydia’s elopement highlight the potential financial and social consequences of irresponsible behavior.
• Contemporary Reception and Critical Views: The excerpts provide insights into the initial reception of Pride and Prejudice, including both praise for its cleverness and characterization, and criticism for its perceived lack of interest and focus on “vulgar minds and manners.”

VI. Persuasion:

• Vanity and Social Standing: Sir Walter Elliot’s defining characteristic is “vanity of person and of situation,” highlighting his obsession with his baronetcy and his physical appearance. The repetition in the descriptive paragraph emphasizes his self-absorption.
• The Passage of Time and Mutability: The contrast between Sir Walter’s unchanging vanity and the consequences of change around him underscores the theme of mutability in the novel.
• Prejudice Against the Navy: Sir Walter’s objections to Anne marrying a naval officer stem from his snobbery and his belief that naval service prematurely ages individuals and diminishes their appearance.
• Naval Presence and Social Interactions: The presence of Admiral and Mrs. Croft and Captain Wentworth introduces the naval world and its influence on the lives of the characters. Wentworth’s initial aversion to women on board ship and his subsequent kindness highlight his complex personality. Mrs. Croft’s observation about “smooth water” resonates with Anne’s past and present situation.
• Critique of Inherited Rank: Sir Walter Elliot is presented as a sustained critique of inherited rank without merit or responsibility. His spendthrift nature and superficiality are condemned.
• Direct Speech and Character Revelation: The use of direct speech in the conversation about women on board ship reveals the characters’ attitudes and prejudices.

VII. Sense and Sensibility:

• Marriage for Security vs. Love: This central theme is evident in Mrs. Jennings’s pragmatic view of Willoughby’s engagement to Miss Grey for financial gain, despite his earlier affections for Marianne.
• “when a young man, be he who he will, comes and makes love to a pretty girl, and promises marriage, he has no business to fly off from his word only because he grows poor, and a richer girl is ready to have him.”
• The Role of Gossip: Gossip plays a significant role in disseminating information and shaping perceptions, as seen in Mrs. Jennings’s learning of Willoughby’s impending marriage.
• Materialism and Practicality: Mrs. Jennings’s focus on financial security and her matter-of-fact suggestions for dealing with Brandon’s supposed illegitimate child reveal a pragmatic and somewhat materialistic outlook.
• Extravagance and Vanity: Willoughby’s past behavior is attributed to the “world had made him extravagant and vain,” highlighting the corrupting influence of society and wealth.
• Narrative Control and Character Perspective: The narrator’s deliberate interruptions of Willoughby’s confession and the focus on Elinor’s shifting reactions demonstrate the narrative control and the exploration of different character perspectives.
• Language and Feeling: The contrast between “hackneyed metaphor” and genuine emotion is highlighted, emphasizing Austen’s awareness of the limitations and potential insincerity of conventional expressions.
• Contrasting Character Traits: The differing perceptions of Colonel Brandon by Marianne and Elinor underscore the contrast between romantic idealism and mature judgment. Marianne finds Brandon lacking in “genius, taste,” while Elinor appreciates his “thinking mind.”
• Family Dynamics and Loss: The introduction of the Dashwood family and the impact of Mr. Dashwood’s death establish the initial circumstances and the financial vulnerability of the women.
• Differing Personalities of the Sisters: Margaret’s early absorption of Marianne’s “romance, without having much of her sense” foreshadows her less discerning nature.
• Hidden Wit and Irony: Edward Ferrars’s seemingly dull pronouncements on the picturesque are revealed to possess wit and irony, challenging initial impressions of his character.
• Allusions to Literature: The reference to Marianne’s admiration for Pope is linked to the potentially “risqué nature” of his work, highlighting the nuances of literary taste and sensibility.

VIII. Sanditon:

• Development of a Seaside Resort: The novel focuses on the efforts to promote Sanditon as a fashionable seaside destination, highlighting the economic motivations and social dynamics involved in such ventures. Lady Denham’s financial interest in Sanditon’s success is evident.
• Social Climbing and Favor Seeking: The various families, including the Breretons, Denhams, and Hollises, are shown to be vying for Lady Denham’s favor and potential inheritance.
• Satire of Character Types: Sir Edward Denham is presented as a satirical figure who consciously models himself on literary seducers like Lovelace, revealing the superficiality and affectation of some individuals. His language imitates his literary heroes.
• Social Commentary on Poverty and Illness: Lady Denham’s objection to having a doctor in Sanditon, fearing it will encourage the poor to imagine themselves ill, offers a critical commentary on social attitudes towards poverty and healthcare.
• First Impressions and Judgment: Charlotte Heywood’s initial assessment of Lady Denham as “thoroughly mean” and Sir Edward as “downright silly” highlights the process of forming judgments based on observation.

IX. Other Characters and Themes:

• The Importance of Marriage Settlements: The haggling between Mary Stanhope and Mr. Watts in The Three Sisters over the details of their marriage settlement underscores the economic realities and negotiations involved in securing a financially advantageous marriage. Mary’s insistence on material possessions like a new carriage and jewels reveals her priorities.
• Social Anxiety and Appearance: The descriptions of Jane and Margaret Watson in The Watsons highlight the social anxieties surrounding appearance, accomplishments, and marital prospects for unmarried women.
• Family Background and Social Roles: The biographical details of Jane Austen’s father and brothers shed light on the social norms and career paths of the time, including the significance of the clergy, the military (particularly the navy), and landownership. The mention of her brother George’s disability provides a glimpse into the challenges faced by individuals with special needs.
• Fashion and Material Culture: References to clothing, such as Mrs. Gardiner’s distribution of presents and descriptions of new fashions, and Jane Austen’s own letters discussing muslin gowns, highlight the importance of fashion in social interactions. Harriet Smith’s “pattern gown” illustrates the practice of copying fashionable styles.
• Military Life and its Impact: The inclusion of numerous military characters and references, particularly to naval service during the Napoleonic Wars, reflects the pervasive influence of the military on English society.
• Literary Allusions and Influences: The text identifies various literary influences on Austen’s work, including Samuel Richardson, Henry Fielding, Shakespeare, Milton, Pope, and contemporary gothic novelists like Ann Radcliffe and Regina Maria Roche. These allusions enrich the meaning and provide context for her novels.
• Music as a Social Accomplishment and Emotional Outlet: The discussion of music in Austen’s novels reveals its significance as a social skill for women, a means of attracting attention, and a form of emotional expression. The mystery surrounding Jane Fairfax’s piano in Emma exemplifies its narrative importance.

This briefing document provides a comprehensive overview of the key themes, ideas, and factual information presented in the provided excerpts. It highlights Austen’s engagement with social hierarchies, the complexities of human relationships, the economic realities of her time, and her masterful use of language and narrative technique.

Jane Austen and Her World: Frequently Asked Questions

Frequently Asked Questions about Jane Austen and Her World

1. What kind of reading material influenced Jane Austen in her youth?

Jane Austen was an avid reader from a young age, with access to a substantial library at home. Her reading encompassed a wide range of genres and authors, including Shakespeare, English history, and both contemporary and 18th-century fiction. She also engaged with the works of 18th-century philosophers, moralists, and poets. Family favorites included novelists such as Samuel Richardson, Henry Fielding, Laurence Sterne, and Tobias Smollett, as well as Oliver Goldsmith’s The History of England. This broad exposure to literature and intellectual discourse significantly shaped her understanding of narrative, character development, and societal norms.

2. How did the Napoleonic Wars and military service impact Jane Austen’s family and her novels?

Two of Jane Austen’s brothers, Francis William and Charles John, pursued successful careers in the Royal Navy, eventually reaching the rank of admiral. Their naval service during the Napoleonic Wars would have undoubtedly been a significant topic of conversation and concern within the family, as evidenced by mentions in her letters regarding their promotions and ambitions. While Jane Austen’s novels primarily focus on domestic life and social interactions, the broader context of the Napoleonic Wars and the presence of the military are subtly woven into some of her works. For instance, characters like Captain Benwick and Captain Wentworth in Persuasion, and the militia in Pride and Prejudice and Emma, reflect the pervasive influence of the military in English society at the time. Mr. Weston’s past service in the militia in Emma is presented as a way for him to be a good citizen and satisfy his social nature. The text also notes the increased creation of peerages for naval and military service during this period, impacting social hierarchies.

3. What role does social class and status play in Jane Austen’s novels, particularly in Emma?

Social class and status are central themes in Jane Austen’s works, and Emma provides numerous examples. Emma Woodhouse’s perspective is heavily influenced by her high social standing, leading her to look down upon individuals like the young farmer Robert Martin. She believes that those of lower social rank are beneath her notice unless she can exert some influence over them. The novel contrasts Emma’s views with the more pragmatic perspectives of other characters. Mr. Weston’s rise into gentility through trade and his marriage to Miss Taylor highlight social mobility. The arrival of a wealthy newcomer like Mr. Bingley in Pride and Prejudice immediately sparks interest and competition among families with unmarried daughters, underscoring the importance of advantageous marriages for social and economic security. Even seemingly minor details, like Mrs. Long not keeping a carriage, are used to denote social standing.

4. How are marriage and financial security portrayed in the lives of Jane Austen’s characters and in The Three Sisters?

Marriage in Jane Austen’s novels is often intertwined with the pursuit of financial security and social standing, particularly for women with limited economic prospects. Characters frequently consider the financial implications of marriage, as seen in Mrs. Bennet’s fervent desire to marry off her daughters to wealthy men in Pride and Prejudice. The Three Sisters explicitly satirizes this preoccupation. Mary Stanhope contemplates marrying the wealthy but unpleasant Mr. Watts for security, fully aware of the potential for misery. Her mother actively encourages any of her daughters to secure a financially advantageous match. The haggling over the marriage settlement in The Three Sisters underscores the transactional nature of some unions. In Sense and Sensibility, Willoughby’s decision to abandon Marianne Dashwood for a wealthier heiress highlights the societal pressures and personal motivations driving such choices. Emma’s realization that a narrow income can “contract the mind, and sour the temper” further illustrates the societal belief that financial stability is crucial for well-being.

5. What does the text reveal about Jane Austen’s narrative style and techniques, particularly in Emma?

Jane Austen’s narrative style is characterized by several key features, including the use of free indirect discourse, varying sentence and paragraph lengths, and an interweaving of the narrator’s voice with the characters’ thoughts. This technique allows readers to gain insight into the characters’ perspectives while also receiving guidance from the omniscient narrator. In Emma, the opening chapters showcase this style, providing details about Mr. Weston’s background and social standing through conventional narration that blends with hints of irony. The text also points to Austen’s careful use of language, such as the word “temper,” which carries multiple connotations related to social status and disposition. The delayed revelation of family secrets and the focus shifting between characters like Mr. Weston, Frank Churchill, and Jane Fairfax also contribute to her narrative development. The ambiguity surrounding Emma’s remorse after her social blunders further exemplifies Austen’s nuanced approach to character portrayal.

6. How are themes of deception, appearances, and judgment explored in the context of romantic relationships in the provided excerpts?

Deception and misjudgment are recurring themes in the excerpts, particularly in romantic contexts. In Emma, Emma’s preconceived notions about Frank Churchill and her misinterpretation of his attentions towards her illustrate the dangers of partial knowledge and high self-regard. Frank Churchill’s deliberate encouragement of “conjecture” and his duplicitous behavior regarding Jane Fairfax highlight the complexities of courtship. Henry Crawford’s calculated plan in Mansfield Park to make Fanny Price fall in love with him as a form of amusement exemplifies manipulative behavior and a focus on superficial conquest. Elizabeth Bennet’s initial prejudice against Mr. Darcy in Pride and Prejudice based on first impressions and societal gossip demonstrates the potential for flawed judgment. Similarly, James Bennet’s poor assessment of Isabella Thorpe’s character reveals how easily appearances can be deceiving.

7. What insights do the excerpts offer into the social activities and customs of the time, such as balls, visiting, and the role of correspondence?

The excerpts provide glimpses into the social fabric of Jane Austen’s England. Balls were significant social events, offering opportunities for young people to meet and for families to assess potential marriage partners, as highlighted in the descriptions of the assembly in Pride and Prejudice and the ball at the Crown Inn mentioned in relation to Emma. Visiting neighbors was a crucial aspect of social life, facilitating interactions and the exchange of information and gossip. The detailed account of Emma and her mother’s visit to Bath illustrates travel and social engagements outside the immediate village. Correspondence played a vital role in maintaining relationships and conveying news, as seen in the frequent mentions of letters between Jane and Cassandra Austen and the epistolary format of Love and Freindship and The Three Sisters. The discussion of clothing and fashion in letters and social interactions underscores their importance in self-presentation and social signaling.

8. How are female characters and their perspectives portrayed, and what challenges or limitations do they face within the societal structures depicted?

The excerpts reveal a range of female characters navigating the social constraints of their time. Women’s primary paths to security and social standing often revolved around marriage, leading to a strong emphasis on attracting suitable partners. Characters like Mrs. Bennet exemplify the societal pressure on women to marry well. However, the texts also showcase female intelligence, wit, and agency. Elizabeth Bennet’s spirited independence and insightful observations challenge societal expectations. Emma’s attempts to influence Harriet’s romantic choices, though misguided, demonstrate a desire for agency. Even within the satirical context of The Three Sisters, Georgina’s intelligence is noted. The limitations faced by women are evident in the economic vulnerabilities of unmarried women and the social consequences of ruined reputations, as alluded to in the discussion of Maria Bertram’s elopement in Mansfield Park. Fanny Price’s initial dependence and neglect highlight the precarious position of women without fortune or strong social connections. Miss Bates’s poverty, despite her good nature, serves as a contrast to Emma’s belief that poverty inevitably contracts the mind.

Jane Austen: A Biographical Sketch

Jane Austen was born on December 16, 1775, in Steventon, Hampshire. She was the seventh child of Reverend George Austen (1731–1805) and Cassandra Austen, née Leigh (1739–1827).

Biographical information about Jane Austen’s actual life is limited and largely dependent on family records. Her early education included attending Mrs. Cawley’s boarding school in Oxford and then Southampton with her sister Cassandra and cousin Jane Cooper, until a typhoid epidemic forced their return to Steventon in early September.

Her family played a significant role in her life. Her eldest brother, James Austen (1765–1819), entered St. John’s College, Oxford in 1779. Another brother, Edward Austen (1767–1852), was later adopted by a distant cousin, Thomas Knight II (d. 1794), and his wife, Catherine (1753–1812), of Godmersham in Kent. Her fourth brother, Henry Austen (1771–1850), also attended St. John’s College, Oxford. Two of her brothers became clergymen, two entered the navy (Charles and Francis), and Edward became a member of the gentry through adoption.

Jane had a particularly close relationship with her sister, Cassandra Austen (1773–1845). They attended school together and maintained a lifelong bond. It is mentioned that Jane dedicated her “Juvenilia” pieces known as “Scraps” to her brother Edward’s daughter, Fanny.

In terms of romantic interests, in 1792, Cassandra became engaged to Tom Fowle, a former pupil of her father, but he died in 1797 before they could marry. Between 1792 and 1795, Jane was described by a Mrs. Mitford as “the prettiest, silliest, most affected, husband-hunting butterfly she ever remembered”. In 1796, Jane Austen was acquainted with Tom Lefroy (1776–1869), and the earliest extant Jane Austen letter, dated January 9, 1796, refers to him. While there seemed to be a mutual attraction, he did not propose and later married and lived in Ireland. In December 1802, Harris Bigg-Wither (1781–1833) proposed marriage to Jane Austen, and she initially accepted him, but she changed her mind the next morning.

Jane Austen began writing early in her life. Her unfinished fantasy fiction EVELYN is dedicated to “Miss Mary Lloyd” and found in Volume the Third given to Jane by her father on May 6, 1792. It is followed by CATHARINE, OR THE BOWER, dedicated to her sister Cassandra and dated August 1792, considered the most mature example of her “Juvenilia”. She also wrote The History of England from the reign of Henry the 4th to the death of Charles the 1st, a parody of popular national histories, dedicated to her sister. This piece is considered part of her juvenilia and was likely written in collaboration with Cassandra. She dedicated five pieces on nonsense known as “Scraps” included in Volume the Second of her Juvenilia to her niece Fanny Catherine.

Jane Austen is known for her six major novels: NORTHANGER ABBEY (written 1798–99), SENSE AND SENSIBILITY (written 1795, 1797–98, 1809–10), PRIDE AND PREJUDICE (written 1796–97, 1811–12), EMMA (written 1814–15), and PERSUASION (written 1815–16). She would read her novels aloud to her family as she was writing them.

Several significant life events occurred throughout her life. Her father’s younger sister, Philadelphia Hancock, died in February 1792. Her father, Reverend George Austen, died on January 21, 1805. This left Jane, her mother, and Cassandra in a precarious financial situation, dependent on others. Following her father’s death, Jane Austen lived with her mother and sister on a modest income. They moved several times, including to Southampton in March 1805 and then to Chawton Cottage in 1809 on Edward’s estate. Jane Austen lived at Chawton Cottage until shortly before her death.

Jane Austen died on July 18, 1817. She was 41 years old. Cassandra and Martha Lloyd, a close friend who lived with the family, remained at Chawton Cottage until 1827 looking after Mrs. Austen, who died on January 18, 1827, at the age of 87.

It is noted that Jane Austen’s posthumous literary reputation is easier to document than her actual life. In her own century, her literary reputation waned initially, although her novels were reprinted and praised by some. The publication of J. E. Austen-Leigh’s Memoir in 1870, based on family recollections, and Edward Brabourne’s two-volume edition of her Letters in 1884, helped to revive interest in her life and work.

Jane Austen lived during interesting and turbulent times, including the Napoleonic Wars and their impact on her family, particularly her brothers in the navy, and economic instability.

Jane Austen: Critical Approaches and Literary Analysis

Literary works analysis of Jane Austen’s writings involves a diverse range of approaches and focuses on various aspects of her life and work. The essays in the “Critical Companion to Jane Austen” supply critical information on a diverse range of topics directly related to the study of her life and work, including the publication and critical history of her novels, as well as her characters, family, friends, themes, ideas, and influence. The book also combines plot synopses with accessible yet detailed critical analysis and commentary and serves as a research companion. Part II of the book contains detailed essays on all of Jane Austen’s writings, covering origins, publication history, initial and later reactions, afterlife, critical synopses, central critical concerns, crucial historical and thematic information, and relevant scholarship.

Several critics and scholars have offered insightful analyses of Jane Austen’s works:

• Themes and Style: Some analyses focus on the universal themes in her work, such as love, marriage, property, relationships, human survival, the place of the individual in the wider community, and growing up. Others highlight her technical innovation, stylistic brilliance, and wonderful way with words.
• Social Commentary: Jane Austen is also seen by some as a radical among her contemporaries, attacking chauvinistic attitudes toward women and exposing colonial exploitation and sexual immorality.
• Character Analysis: Her characters have been extensively analyzed, with critics exploring their motivations, development, and roles within the narratives. For example, Mrs. Elton in Emma has been considered “the very best portrait of a vulgar woman”. The treatment of Miss Bates in Emma has been used to explore the depiction of “the eruption of fear and hatred into the relationships of everyday social life”.
• Historical and Political Context: Some critical approaches examine Jane Austen’s works within their historical and political contexts. For instance, the chronological setting of Mansfield Park encompasses the prewar and war years with France. The potential influence of the French Revolution and the Napoleonic Wars on her novels has also been considered. Edward Said’s essay emphasizes the “comfort” of Mansfield Park as potentially based on the exploitation of slave labor on Sir Thomas Bertram’s estate in Antigua.
• Literary Influences and Intertextuality: Analyses also explore Jane Austen’s literary influences, such as the works of William Cowper, Samuel Johnson, Fanny Burney, Samuel Richardson, and the prevalence of intertextuality in her works, such as references to Lovers’ Vows in Mansfield Park. The parody of gothic novels in Northanger Abbey is a significant area of analysis.
• Feminist and Post-Colonialist Readings: Dominant readings in the later 20th century included feminist and post-colonialist perspectives, examining issues of gender, power, and societal structures in her novels.
• Language and Style Analysis: The language and style of Jane Austen’s writing have been subjected to detailed analysis, including vocabulary, sentence structure, use of dialogue, and modes of address. For example, David Lodge analyzed the vocabulary of Mansfield Park, noting the frequency of words related to manners and social values.
• Moral and Philosophical Concerns: Some critics focus on the moral and philosophical dimensions of her work, such as the interplay between “sense” and “sensibility”, and the exploration of virtues. Marilyn Butler suggests that Jane Austen “as a Christian deplored” certain fictional doctrines.
• Reception History: The critical reception of Jane Austen’s works over time is itself a subject of analysis, tracing how different generations and critical schools have interpreted her novels. The rise of “Janeites” and the subsequent critical reactions are part of this history.

Individual novels have also been the focus of specific critical attention:

• Emma: Considered by some to be her artistic climax, with readers often disagreeing about it. Critical attention includes its vocabulary, character development, and thematic concerns.
• Mansfield Park: Has generated significant critical debate, with readings focusing on its morality, social commentary, and even its connection to colonialism.
• Northanger Abbey: Analyzed for its parody of gothic novels, its exploration of imagination and reality, and its status as a Bildungsroman or novel of education.
• Pride and Prejudice: A central focus of critical essays, exploring themes of pride and prejudice, social conventions, and the use of irony and dialogue.
• Persuasion: Twentieth-century criticism finds increasing depth in this novel, focusing on narrative techniques, the treatment of emotion, and its potential as cultural critique.
• Juvenilia: These early writings are analyzed for their intrinsic merit and as reflections of the young Jane Austen’s opinions and development, often containing parodies and experiments in style.
• Other Works: Even unfinished works like Sanditon and The Watsons, as well as her letters, prayers, and “Plan of a Novel,” are subject to critical analysis, offering insights into her creative process, social commentary, and personal beliefs.

Overall, the analysis of Jane Austen’s literary works is a dynamic and evolving field, drawing on various critical lenses to deepen our understanding of her artistry and the enduring relevance of her writing.

Jane Austen’s Social Context

Drawing upon the sources, the social context of Jane Austen’s novels is a crucial element for understanding her characters, plots, and underlying critiques. Her works are deeply embedded in the social hierarchy of 18th and early 19th century England, where class, status, wealth, and connections significantly determined individuals’ opportunities and social interactions.

Here are some key aspects of this social context as revealed in the sources:

• Importance of Social Standing: The opening of Mansfield Park emphasizes the significance of rank, name, and fortune in marriage. The contrast between Miss Maria Ward with her “only seven thousand pounds” and Sir Thomas Bertram highlights the economic considerations in social matches. Similarly, in Emma, Emma’s snobbish perception of Harriet Smith’s “inferior society” underscores the rigid social stratification of the time. Mrs. Percival in Catharine or the Bower harks back to an older set of values concerned with social order and fears its end.
• Marriage as a Social and Economic Institution: Marriage is not solely based on romantic love but is deeply intertwined with economic stability and social advancement. Mrs. Bennet in Pride and Prejudice is driven by the need to secure financially sound husbands for her daughters. Henry Tilney’s definition of matrimony and dancing in Northanger Abbey reflects the perceived power dynamics and expectations within marriage in that era.
• Rules of Social Conduct and Propriety: Jane Austen’s novels meticulously depict the social rituals and expectations of her time. Characters are constantly navigating manners, decorum, and propriety. Fanny Price’s initial exclusion and later acceptance within the Bertram household in Mansfield Park is largely dictated by social conventions. Catherine Morland in Northanger Abbey has to learn how to behave according to the socially accepted norms of Bath. Mary Crawford’s actions and remarks in Mansfield Park are often judged against the prevailing sense of propriety.
• The Role of Women and Gender Expectations: The sources provide insights into the limited roles and expectations placed upon women. Young women like Camilla Stanley in Catharine or the Bower were expected to acquire accomplishments for display in society, often to be neglected after marriage. The concept of a young lady “being out” in society, as mentioned in relation to Fanny Price’s ball in Mansfield Park, signified her entry into the marriage market. Henry Tilney’s view of gender roles in marriage, where the man provides and the woman makes the home agreeable, reflects the societal norms. The limited options for women, such as becoming a governess, and the associated social stigma are also touched upon in the discussion between Mrs. Elton and Jane Fairfax in Emma.
• Country vs. Town Society: There’s a recurring theme of the contrast between rural and urban life. Mrs. Percival views London as a “hot house of Vice”. Edmund in Mansfield Park suggests that morality is more reliable in the country than in the large cities where clergy are lost in the crowds. The Crawfords in Mansfield Park embody metropolitan tastes and the potentially corrupting influence of the fashionable London world.
• Economic Realities and Dependence: Financial considerations permeate the social fabric of Austen’s world. Sir Walter Elliot in Persuasion is unwilling to sell property despite financial difficulties due to pride. The Bertram family’s reliance on their “West Indian Property” in Mansfield Park highlights the economic underpinnings of their social standing. The limited income of Mrs. Price and her dependence on her wealthier relatives in Mansfield Park illustrate the precarious financial situations many faced.
• Social Mobility and Class Distinctions: While the social hierarchy was relatively rigid, there were avenues for some social mobility, though often viewed with scrutiny. The Bingley sisters in Pride and Prejudice, whose fortune was “acquired by trade,” are perceived as lower in the social hierarchy compared to landed families like the Darcys. Emma’s concern about associating with the “second rate and third rate of Highbury” reveals her awareness of these subtle social distinctions.
• Benevolence and Social Responsibility: While self-interest often drives characters, the concept of “benevolence” and social responsibility is also present. Sir Thomas Bertram’s willingness to assist his sister-in-law is motivated by “principle as well as pride” and a desire to maintain his family’s respectability. Mr. Weston in Emma is described as a “concerned citizen who does the right thing”.

As we discussed previously, literary analysis of Austen’s works often considers these social contexts. Critics like Arnold Kettle have seen a limited vision of society in Emma, while others like Alastair Duckworth view her works as preoccupied with class consciousness. Post-colonial readings, such as Edward Said’s analysis of Mansfield Park, even examine the role of colonial wealth in sustaining the social order depicted in her novels. Feminist readings also explore the constraints and opportunities within this social framework for female characters.

Understanding this intricate social context is essential to appreciating the nuances of Jane Austen’s writing and the complexities of the world she portrays. Her novels offer not just engaging stories but also insightful commentary on the social structures and values of her time.

Jane Austen’s Character Description Techniques

Drawing upon the sources and our conversation history, the description of characters is a significant aspect of Jane Austen’s literary technique and a key focus of literary analysis. Her methods of character portrayal are diverse and contribute greatly to the richness and depth of her novels.

Here’s a discussion of character descriptions based on the provided sources:

• Direct Narratorial Description: Austen frequently employs an omniscient narrator to directly describe characters, providing insights into their physical appearance, personality, social standing, and sometimes their inner thoughts.
• For instance, the narrator in Pride and Prejudice offers a brief description of Mr. Bingley as “good looking and gentlemanlike” with a “pleasant countenance, and easy, unaffected manners”. In contrast, Darcy is described with more detail, noting his “fine, tall person, handsome features, noble mien,” and the subsequent observation of his proud manners.
• In Sense and Sensibility, Mrs. Ferrars is described as “not a woman of many words” but possessing a “strong character of pride and ill nature”.
• The opening of Mansfield Park introduces the characters by outlining their social positions and financial circumstances, such as Miss Maria Ward having “only seven thousand pounds” [the “Synopsis” section does not contain page numbers for Mansfield Park].
• Catharine or the Bower directly characterizes Catharine (Kitty) as having “Spirits were naturally good, and not easily depressed, and she possessed such a fund of vivacity and good humour as could only be damped by some serious vexation”.
• Character Revelation Through Dialogue: Dialogue is a crucial tool for revealing character traits, values, and attitudes.
• The conversations between Mrs. Bennet and Mr. Bennet in Pride and Prejudice vividly illustrate their contrasting personalities and preoccupations. Mrs. Bennet’s repetitive phraseology, such as “to be sure,” is noted as potentially drawing on a comic dramatic tradition.
• In Emma, the three-way exchange among Emma, her father, and Knightley in the first chapter reveals their individual perspectives and the nature of their relationships.
• The dialogue between Catherine and Isabella in Northanger Abbey highlights the contrast between Catherine’s innocence and Isabella’s exaggeration and concern with superficialities.
• Mary Crawford’s witty and sometimes cynical remarks in Mansfield Park, as well as Edmund’s more serious and principled responses, are revealed through their conversations.
• Free Indirect Discourse (Erlebte Rede): Austen frequently uses free indirect speech to convey a character’s thoughts and feelings without direct quotation, blending the narrator’s voice with the character’s perspective.
• In Pride and Prejudice, the passage describing Bingley’s dependence on Darcy’s judgment is presented as potentially being Darcy’s thoughts as well as the narrator’s.
• Mansfield Park uses free indirect speech to convey Fanny’s state of mind, her thoughts without her actually speaking. Charles Musgrove’s internal conflict in Persuasion is also conveyed through this technique.
• Character Portrayal Through the Eyes of Others: Austen often presents characters through the perceptions and opinions of other characters, providing multiple perspectives.
• Harriet’s report of Robert Martin’s words and manner in Emma is filtered through her perspective, and then Emma interprets this further.
• The early chapters of Pride and Prejudice show how the local society perceives Mr. Bingley and Mr. Darcy.
• In Mansfield Park, Fanny is often seen through the eyes of Mrs. Norris, who wishes her to behave as a “poor relation”.
• Contrast and Comparison: Austen frequently employs contrast between characters to highlight their individual traits.
• Catharine Percival in Catharine or the Bower is contrasted with Mrs. Percival and Camilla Stanley.
• Bingley’s “easy, openness” is contrasted with Darcy’s “haughty, reserved, and fastidious” nature in Pride and Prejudice.
• Elinor’s “steadier judgment” in Sense and Sensibility is contrasted with her mother’s more impulsive nature.
• Actions and Behavior: Characters are also revealed through their actions and how they behave in social situations.
• Mrs. Norris’s manipulative actions in Mansfield Park, such as moving into Mansfield Park to save money during the preparations for the play, reveal her self-serving nature.
• Isabella Thorpe’s behavior in Northanger Abbey, with her exaggerations and focus on fashion, illustrates her superficiality.
• Frank Churchill’s delayed visit to his father in Emma and his interactions with Emma and Knightley reveal aspects of his personality.
• Language and Diction: The specific language and diction used by characters are indicative of their social class, education, and personality.
• John Thorpe’s coarse language in Northanger Abbey is contrasted with the more refined speech of the Tilneys.
• Miss Bates’s “incessant flow” of speech in Emma, characterized by dashes, parentheses, and tangents, is a key aspect of her characterization.
• Critical Commentary on Character Description: Critics have noted various aspects of Austen’s characterization:
• Her ability to create complex and nuanced characters that go beyond simple stereotypes.
• The use of dialogue to expose individual personalities rather than stock characters, as seen in her juvenilia like “Evelyn”.
• The way in which characters’ language reflects their moral standing and their relationship to reality, a point emphasized in the analysis of Northanger Abbey.
• The use of even minor details, such as Mr. Gower’s forgotten rose in “Evelyn,” as “misdirected details ripe for the interpreter’s obsessing” and revealing of character.
• The development of characters throughout the novels, such as Emma’s journey towards more mature judgment.

In summary, Jane Austen employs a sophisticated array of techniques to describe her characters, including direct narration, revealing dialogue, the subtle use of free indirect discourse, portrayal through the perspectives of others, strategic contrasts, telling actions, and distinctive language. These methods, often analyzed by literary critics, contribute to the creation of memorable and realistic characters who navigate the intricate social landscapes of her novels.

Jane Austen: A History of Critical Reception

Drawing upon the provided sources and our previous discussion about character descriptions, here is a discussion of the critical reception of Jane Austen’s work:

The critical reception of Jane Austen’s novels has evolved significantly from their initial publication to the present day. Early responses varied, and her work has been subject to diverse interpretations and assessments by contemporary readers, literary figures, and subsequent critics.

Early and Contemporary Reception:

• Initial reactions from Jane Austen’s immediate family were mixed. For example, her mother found Pride and Prejudice more interesting than Mansfield Park, while others had different preferences and criticisms regarding character and incident.
• Contemporary reviews often focused on the moral aspects of her novels. The British Critic commended Sense and Sensibility for offering “sober and salutary maxims for the conduct of life”.
• Some early readers, like Maria Edgeworth, found Emma lacking in story. However, others, such as Susan Ferrier, praised its truth to life and piquant style, even without overt mystery or adventure.
• Sir Walter Scott’s anonymous review of Emma in 1815 was a significant early assessment, highlighting her use of detail, fine prose style, and depth of characterization, relating these to her creation of a fictional world faithful to everyday life. He saw her work as representing “the modern novel”.
• Richard Brinsley Sheridan reportedly considered Pride and Prejudice “one of the cleverest things he ever read”.
• Some male contemporaries found Austen’s writing “too clever to have been written by a woman”.
• Mansfield Park received less initial attention compared to some of her other novels. Opinions within Austen’s family were also varied, with some finding Fanny “insipid” and others enjoying Mrs. Norris. However, some praised its morality and composition.
• Northanger Abbey and Persuasion, published posthumously, received early reviews that often compared them, with varied preferences. The Gentleman’s Magazine considered Northanger Abbey “decidedly preferable”. However, some found fault with aspects like the characterization of General Tilney.

19th-Century Perspectives:

• During the 19th century, critical attention to Austen grew, though some novels like Mansfield Park received less notice than others.
• Richard Whately, in his 1821 review, praised Mansfield Park for its moral lessons and humorous descriptions, noting Austen’s insight into female character. He also lauded the characterization in Northanger Abbey.
• Charlotte Brontë held somewhat critical views, finding Austen lacking in areas of the “picturesque and passionate”.
• George Henry Lewes, while acknowledging her dramatic power and realism, also felt she lacked “breadth, picturesqueness and passion,” limiting her audience.
• By the late 19th century, figures like Henry James critiqued the rise of “Janeitism,” a sentimentalized and commercialized view of Austen.

20th and 21st-Century Critical Re-evaluation:

• The 20th century saw a significant increase in serious critical engagement with Jane Austen’s work, elevating her status in the literary canon.
• Critics like D.W. Harding challenged sentimental readings, emphasizing the satirical elements and “regulated hatred” in her novels. He highlighted the social criticism embedded in her caricatures.
• Q.D. Leavis argued for Austen as a dedicated professional writer with intense moral preoccupations.
• Virginia Woolf recognized a “peculiar beauty” and “peculiar dullness” in Persuasion, noting Austen’s growing awareness of a larger world.
• Mary Lascelles emphasized Austen’s narrative art and the symmetry of her plots.
• Marvin Mudrick explored the role of irony in Austen’s work.
• Later 20th-century criticism broadened its approaches, incorporating feminist, Marxist, and postcolonial perspectives. Claudia Johnson, for instance, examined female authority in Emma and the political undercurrents in her novels. Edward Said offered a contentious reading of Mansfield Park in the context of colonialism.
• There has been increased attention to the historical and social contexts of Austen’s novels. John Wiltshire, for example, has explored the significance of the body and health in her works.
• Critical discourse on individual novels continues to evolve. Emma remains a subject of debate regarding Emma’s character development and the novel’s overall meaning. Mansfield Park has seen discussions around its portrayal of morality, duty, and its connection to issues like the slave trade. Northanger Abbey is analyzed for its parody of the gothic, its literary theories, and its engagement with philosophical ideas. Persuasion is increasingly recognized for its emotional depth and narrative sophistication. Pride and Prejudice continues to be a touchstone for discussions of manners, marriage, and individual fulfillment within societal constraints.

In conclusion, the critical reception of Jane Austen’s work demonstrates a shift from initial moralistic readings and varied contemporary opinions to more nuanced and diverse interpretations in later centuries. Her novels are now recognized for their artistic brilliance, complex characterizations, social commentary, and enduring relevance, making her a central figure in English literary studies. The ongoing critical engagement with her work, exploring various facets from her narrative techniques to her engagement with the social and political issues of her time, attests to her lasting literary significance.

By Amjad Izhar
Contact: amjad.izhar@gmail.com
https://amjadizhar.blog

Affiliate Disclosure: This blog may contain affiliate links, which means I may earn a small commission if you click on the link and make a purchase. This comes at no additional cost to you. I only recommend products or services that I believe will add value to my readers. Your support helps keep this blog running and allows me to continue providing you with quality content. Thank you for your support!