Modest and accomplished

The Cobb, Lyme Regis 1892

Jane Austen: Persuasion
Introduction and notes by Elaine Jordan 2000
Wordsworth Classics 2007 (1993)

William Walter Elliot of his cousin Anne, after she modestly claimed minimal understanding of Italian: “one who is too modest for the world in general to be aware of half her accomplishments, and too highly accomplished for modesty to be natural in any other woman.” — Persuasion: Volume II Chapter 8

Persuasion was the last completed novel by Austen, published posthumously in December 1817 in tandem with Northanger Abbey, one of her earliest completed novels. It’s likely that neither of these novels appeared with the titles Austen gave them (Northanger Abbey was provisionally called Catherine, and in an earlier draft Susan) but I wonder how the public would have viewed Persuasion if it had in fact been published as The Elliots, a handle which Austen family tradition asserted was her original choice of working title.

You might assume then that this is a story of a family from the landed gentry when in fact our focus is almost entirely on just one member of that family, Anne Elliot. Unusually for Austen novels there is a substantial backstory, which is that eight years before Anne was ‘persuaded’ to refuse young Captain Wentworth’s offer of marriage on the grounds that he had few prospects ahead of him. She has since bitterly regretted her decision but, in common with many of women of her supposedly advanced age (she is 27 when this story opens), it’s more than just due the fear that she will never get another offer: it’s that she continues to have feelings for Frederick. On top of that, her father’s poor management of the Somerset estate has necessitated the letting out of the property so that the family can live in more straitened circumstances in Bath.

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Regency murders


P D James and T A Critchley
The Maul and the Pear Tree:
the Ratcliffe Highway Murders, 1811

Faber & Faber 2010

I deliberately began reading The Maul and the Pear Tree exactly two hundred years to the day that the horrific killing spree known as the Ratcliffe Highway murders began, on December 7th 1811. Four innocent people, including a babe in arms, were butchered in London’s East End that first night, stretching the rudimentary resources of the parish, the local magistrates and the Thames police based in Wapping. It inaugurated a period of terror, suspicion and xenophobia in St George’s and the neighbouring parishes and, through the medium of the press, a few weeks of morbid fascination in the public at large. It also led to questions in Parliament on the adequacy of current policing by neighbourhood watchmen, with a scornful analysis by the playwright Sheridan on the floor of the House of Commons.

Panic really set in when, twelve days later, a second attack resulting in three more horrific murders took place, also around the witching hour of midnight.

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Of blunders and pardons

The manor house at Steventon (where Jane’s father was rector) — perhaps a model for Hartfield.

Following a review I’ve discussed the who, when and where of Jane Austen’s Emma, and then intimated I’d get onto the what. In this post I plan to briefly discuss the novel’s structure before bringing out some themes, chiefly by means of what the characters say. Needless to add, this is not meant to be an exhaustive or detailed analysis, merely a sketch of what has struck me about this superbly crafted novel.

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Of Highbury, in Surrey

I promised some musings on the subject of Jane Austen’s Emma, based on notes taken while reading it for the first time, and so here is my offering … while it is still fresh in my mind. As regular readers will be familiar from previous musings on novels that have caught my fancy, I’ve mainly based my thoughts on the four ‘W’s — who, what, when and where.

Here comes the customary warning of spoilers.

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The imaginist

Edmund Blair Leighton: The Piano Lesson

Jane Austen: Emma
Edited by James Kinsley and David Lodge
World’s Classics 1980 (1971)

How much more must an imaginist, like herself, be on fire with speculation and foresight! — Emma, Volume III Chapter 3

Emma thoroughly deserves its plaudits as an epitome of the author’s skills. Its status as Austen’s longest novel and the main product of her mature years ensures that any assessment I give is bound to be brief and inconsequential; but I’d be remiss if I didn’t add my own two-penn’orth of praise to the general applause.

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Austen’s powers

Examples of Regency dress

Twenty-seventeen is the bicentenary of Jane Austen‘s death, with the climax of the celebrations arriving on the fateful day of July 18th. Austen lovers the world over will be adding their own appreciations — as I too will be doing, discoursing on Emma, the last of her books to be published in her own lifetime.

I’ve posted a number of reviews, discussions and oblique references to the author over the years. For those who may be interested in what this newbie admirer of Austen’s powers has to say I’ve appended a list with links and also included a brief description. Feel free to indulge yourselves — or pass by!

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Beyond superlative

Detail of raven from a print by Alison Fennell: “Constellation Raven”

Susanna Clarke Jonathan Strange & Mr Norrell Bloomsbury 2007 (2005)

Here is a homage to Regency literature that surpasses mere pastiche. Here is an alternate history that makes one doubt the history one knows. Here too is a fantasy for those who hate fantasy. Here, in short, is great literature — involving as well as immersive, and above all beautifully written. It certainly deserves its accolades, both public and individual.

This is a story about the revival of English magic in the early 19th century brought about by the foremost magicians of the age. This is also a story about the dangers attached to re-awakening dormant forces that one may not understand, let alone control. All those Arabian Nights stories about the perils of letting the genie out of the bottle or of unwittingly killing the genie’s son by carelessly discarding date stones are reminders that fairy folk and their peers are not to be trifled with unless you know what you’re letting yourself in for. So it proves for Gilbert Norrell and for his pupil Jonathan Strange.

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