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Archive for the ‘Jane Austen’s Life & Times’ Category

Statue of King George III in Weymouth, England

Author, and friend of Austenprose, Stephanie Barron has contributed an online article in the “Three Books” series on NPR. Which books did she choose? Why Regency-era of course.

In Three Books, Two Centuries And One English Regency, Barron highlights: Seize the Fire: Heroism, Duty, And Nelson’s Battle of Trafalgar,  by Adam Nicolson; The Battle: A New History of Waterloo, by Alessandro Barbero; and Persuasion, by Jane Austen.

Stephanie is famous for her Being a Jane Austen Mystery series of ten (soon to be eleven) novels featuring Jane Austen as a sleuth. We are reading the entire series this year in the Being a Jane Austen Mystery Reading Challenge 2011 right here on Austenprose. You can check out my reviews through the 8th book and other participants reviews posted here. Stephanie’s next book in the series, Jane and the Canterbury Tale, arrives next Tuesday, August 30th, 2011! We are presently reading it and are enchanted.

Stephanie’s three books are all very interesting choices to highlight an era that we all love so dearly — but, Gentle Reader, what would you have selected? Mine would have been…

Cheers,

Laurel Ann

© 2007 – 2011 Laurel Ann Nattress, Austenprose

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Deb at Jane Austen in Vermont commemorates the passing of Jane Austen 194 years ago today. R.I.P. gilder of every pleasure.

In Memory of Jane Austen ~ July 18, 1817 [I append here the post I wrote last year on this day] July 18, 1817.  Just a short commemoration on this sad day… No one said it better than her sister Cassandra who wrote I have lost a treasure, such a Sister, such a friend as never can have been surpassed,- She was the sun of my life, the gilder of every pleasure, the soother of every sorrow, I had not a thought concealed from her, & it is as if I had lost a part of myself…” (Letters, … Read More

via Jane Austen in Vermont

Vic at Jane Austen’s World remembers Jane Austen’s life with a book giveaway of In the Garden with Jane Austen.

You can also read my previous posts of Jane Austen’s passing:

© 2007 – 2011 Laurel Ann Nattress, Austenprose

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William and Kate Royal engagement 2010Since Jane Austen always ended her novels with a wedding or two, we thought we would be remiss if we did not mention the Royal Wedding of Catherine Middleton to HRH Prince William at Westminster Abbey in London today.  Approximately 2 billion viewers around the world will be tuning in to watch the five and a half hours of commercial free coverage being broadcast live on BBC America. We will be one of them.

For Royal watchers this will be the event of the decade and many will be setting their alarm clocks for 3:00 am Eastern and 12:00 am Pacific time here in the US to watch the glitz, glamour and the reveal of the wedding dress designed by Sarah Burton for Alexander McQueen. For anyone who remembers the wedding of Lady Diana Spencer and HRH Prince Charles in 1981, it is well worth the loss of sleep. No one does weddings with more pomp and style than the British. We are sure that every milliner in the UK has been laboring away on the perfect bonnet for the occasion for months.  We only wish we had planned ahead and taken the day off of work.

Lady Diana Spencer and HRH Prince Charles Royal Wedding 1981

For those who miss the live Kate and Wills action, there are bound to be re-runs and highlights shown online and on TV for days, and you can pre-order the official DVD from BBC America which will be available on May 24th. And, for those of you who would like to explore the one thousand years of Royal Wedding history, from William the Conquer to Kate and Wills, we highly recommend Emily Brand’s new condensed volume Royal Weddings published by Shire Libraries. Here is the publisher’s blurb:

Royal Weddings, by Emily Brand (2011)With the impending nuptials of Prince William and Kate Middleton this April, Shire Publications offers Royal Weddings, the perfect primer on Britain’s rich nigh-millennial history of kingly couplings and the ideal accompaniment to the aforementioned must-see event of the twenty-first century.

Royal Weddings traces the evolution of matrimonial majesty from the politically charged, relatively austere, private affairs which dominate much of English history, to the grandiose extravaganza of Prince Charles’s and Diana’s union in 1981. Over time, British royal weddings have become the standard by which all other wedding ceremonies are compared.

The book abounds with eye-opening details and interesting stories, such as how King Henry VIII’s marital vows—“…to have and to hold from this day forward, for better or worse, for richer and poorer, in sickness and in health, ’til death do us part…”— have been paradigmatic ever since; or the touching account of the 15th century monarch, Edward IV, who married beneath him and had to keep his marriage to a poor soldier’s widow a secret.

Even with nearly a thousand years of British royalty to cover, author Emily Brand deftly keeps from wallowing in a mire of historical pedantry. Instead, she has culled together exquisitely fascinating facts and anecdotes and presents her discoveries in a lively and inquisitive tone. Her account of the 1625 wedding of King Charles I—for which the monarch wasn’t even present (he sent a surrogate for the lavish affair held at Notre Dame Cathedral in Paris), reads as if she herself was present at the scurrilous event.

Royal Weddings is a sleek 56 pages volume, generously enhanced with 60 full-color pieces of rare art and photos that go beyond traditional wedding pictures and add to the guilty, yet informative, pleasure of the book. There are examples of elaborate decorations, feasts and wedding cakes; ornate jewelry, commemorative medallions and other unique items; wedding dresses and evolving fashions; marriage certificates, announcements, menu cards and other juicy particulars; even the nullification document of King Henry VIII’s short-lived marriage to Anne of Cleves, who Henry believed was misrepresented in the picture he was shown of her before agreeing to the coupling.

About the Author

Emily Brand is a writer and historian with a special interest in eighteenth and nineteenth-century England. She has written widely on domestic and family life for a number of history and genealogy magazines, including publications from BBC Magazines Bristol, the Jane Austen Centre in Bath and the National Archives. She is also an author for history society London Historians, of which she has been made an honorary member.

Wedding of Prince George and Princess Caroline 1795

The most infamous wedding of Jane Austen’s era was the disastrous union of George, The Prince of Wales (later George IV) to his first cousin Princess Caroline of Brunswick on 8 April 1795 at The Chapel Royal at St. James. Forced into an arranged marriage by his father King George III and Parliament, who pledged to pay off his debts, the Prince arrived for the ceremony “in his cups” stumbling up the aisle supported by the Dukes of Bedford and Roxborough. When no one objected to the proceedings, the Prince tried to escape and then sobbed openly. Jane Austen had a very low opinion of Prinny and his outrageous lifestyle, and for good reason. He openly cheated on his wife, ran up astronomical debts and plummeted the reputation of the British monarchy to the depths of despair by dragging his failed marriage through divorce court. Let’s hope that Wills and Kate have a happier life together.

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Jane Austens Letters, edited by Deirdre Le Faye, 4th Edition (2011)Exciting news for Janeites! Deirdre Le Faye’s incredible scholarship on Jane Austen and her family continues in this new edition of Jane Austen’s Letters.

Many will be thrilled to learn that this 4th edition not only includes a new cover, but updates! Here is the description from Oxford University Press:

Jane Austen’s letters afford a unique insight into the daily life of the novelist: intimate and gossipy, observant and informative–they read much like the novels themselves. They bring alive her family and friends, her surroundings and contemporary events, all with a freshness unparalleled in modern biographies. Most important, we recognize the unmistakable voice of the author of such novels as Pride and Prejudice and Emma. We see the shift in her writing from witty and amusing descriptions of the social life of town and country, to a thoughtful and constructive tone while writing about the business of literary composition.

R.W. Chapman’s ground-breaking edition of the collected letters first appeared in 1932, and a second edition followed twenty years later. A third edition, edited Deirdre Le Faye in 1997 added new material, re-ordered the letters into their correct chronological sequence, and provided discreet and full annotation to each letter, including its provenance, and information on the watermarks, postmarks, and other physical details of the manuscripts. This new fourth edition incorporates the findings of recent scholarship to further enrich our understanding of Austen and give us the fullest and most revealing view yet of her life and family. In addition, Le Faye has written a new preface, has amended and updated the biographical and topographical indexes, has introduced a new subject index, and had added the contents of the notes to the general index.

Teachers, students, and fans of Jane Austen, at all levels, will find in these letters remarkable insight into one of the most popular novelists ever.

“These are the letters of our greatest novelist. They give glances and hints at her life from the age of 20 to her death at 41, the years in which she wrote her six imperishable books.”

–Claire Tomalin, Independent on Sunday

Features

  • An unparalleled and irresistible insight into the life of Jane Austen
  • A complete and accurate transcript of all Austen’s letters as known to date
  • Integrates the discoveries of recent Austen scholarship to reveal more about her life and family
  • 2011 marks the bicentenary of the publication of Sense and Sensibility, the first of Austen’s novels to appear in print

About the Author

Deirdre Le Faye , now retired, worked for many years in the Department of Medieval & Later Antiquities at the British Museum. She started researching the life and times of Jane Austen and her family in the 1970s, and since then has written several books about them, the latest being A Chronology of Jane Austen and her Family 1600-2000 , as well as numerous articles in literary journals.

The bit that really got my attention was the incorporation of new scholarship and a new preface. Huzzah!

Jane Austen’s Letters, edited by Deirdre Le Faye
Oxford University Press (2011)
Hardcover (688) pages
ISBN: 9780199576074ISBN10

Due to be released on 1 November 2011

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The Regency Encyclopedia

Here’s a great Follow Firday recommendation for you. Regency history expert Sue Forgue writes to tell us of a wonderful announcement. Her website The Regency Encyclopedia is celebrating its 5th anniversary and has revealed several new enhancements to the Fashion Module. These include:

Fashion Glossary: This is the same database of definitions that powers the highlighted words in the fashion prints’ texts.  You can now search on these definitions without hunting through the fashion prints.

Research Fashion Palettes: Ever wonder what a color like morone looks like or what garments would be in that color? This database allows you to research the fashion palette colors by year (1800-1829) or by the color itself.  A couple of caveats to keep in mind: First, since the color swatches are html codes, your monitor will determine how they display, so at best, these can only be considered approximations. Second, each year’s fashion palette has been compiled from the original fashion print texts and other contemporary fashion articles. If a color shows up in one year and not another, it doesn’t mean the color wasn’t used, it only means that I don’t have any original source documentation for it.

Visit the Modiste Shop to Dress the Doll: Have some fun creating your own regency era outfit. This is the first of an eventual six dolls in the series. Pick the year and the applicable colors for each garment type will load. You can pick any combination of available colors and change them as much as you please before the doll is displayed. When you do, you’ll see the doll in a lovely setting with text incorporating your color choices written in the style of the fashion column in “La Belle Assemblée”.

In addition to these functions, the fashion prints database has been increased to almost 1,700 images thanks to the generous contributions of Vicky Hinshaw of Milwaukee and Jeanne Steen of Chicago.

Many thanks to Sue and her crew for the incredible information available to Austen fans and Regency history buffs. The site is password protected so please use this info for access. Enjoy!

User ID: JaneAusten
Password: brilliant1
(both are case sensitive)

© 2007 – 2011 Laurel Ann Nattress, Austenprose

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Penelope Wilton as Isobel Crawley and Maggie Smith as Violet, Dowager Countess of Grantham in Downton Abbey (2010)

Image of commoner Isobel Crawley greeting peer Violet, Dowager Countess of Grantham in Downton Abbey

Having grown up on the wrong side of the pond, proper forms of address in British royalty and the peerage have always baffled me. I am constantly being corrected by my readers *blush*, and crave a simple explanation (if it exists). Janeite and etiquette maven Laura Wallace to the rescue. She offers this excellent primer in relation to the characters in Downton Abbey, and those in Jane Austen’s novels who are above the landed gentry who dominate her novels. Enjoy!

Laurel Ann (a lovely name:  mine is “Laura Ann”) asked me to contribute an article about the titles and forms of address used in “Downton Abbey,” the new period drama currently being broadcast on Masterpiece Classic.

“Downton Abbey” is, as others have noted, a beautifully written (and acted, and filmed) drama series bearing several similarities to Pride and Prejudice, but with, shall we say, upgrades.  It is set almost exactly one hundred years later, a last moment of elegance before great changes, just as P&P described a world as yet unaltered by the industrial revolution.  It is also, like Austen’s novels, focused on a house and a family at the center of village life.  But where Austen’s novels are about the landed gentry, with a very few titles sprinkled about, Fellowes’s story is about an aristocratic family of great wealth and long lineage, and the difficulties of keeping an estate together for the future in twentieth century England.

The key to understanding the driving force underlying the estate owner’s determination to pass his patrimony to his successor intact are the relationships of the people involved, in some cases dead people who are mentioned in passing, or not at all.  But this also has to be discussed in the context of who the estate owner is and his position in his world.

I will give each character, their titles and forms of address, and try to explain how they fit into the general scheme of the British honours system, and also any Austen characters of a similar rank.

The British peerage system is divided into five main ranks:  Duke, Marquess (sometimes spelled “Marquis”), Earl, Viscount, and Baron.  Above dukes are the members of the royal family, with the sovereign at the top.  Below barons are two ranks of non-peers:  Baronets and Knights.  Not being peers,  they do not hold a seat in the House of Lords (a privilege which ended with the twentieth century).  These two ranks both use the title “Sir” with the given name (never with only the surname), and a baronetcy is passed down through the family like a hereditary peerage.  A knighthood, on the other hand, is for life only.

Image from Persuasion (2007): Sir Walter Elliot (Anthony Head) and his three daughters in Persuasion (2007)

Sir Walter Elliot (Anthony Head), Baronet with his three daughters in Persuasion (2007)

Sir Walter Elliot of Kellynch Hall in Persuasion is the baronet who will be most familiar to Austen readers.  He is yet another man stricken with only daughters and no sons to pass his titles and estates to, so that they will go to a cousin, leaving his daughters comparatively impoverished.

At Downton Abbey, the Earl of Grantham is a peer, the present head of his family and estate, with a wife, three daughters, and various relations and visitors:

The Earl of Grantham:  Robert, addressed as “Lord Grantham.”  Servants address him as “my lord” (notice that Bates corrects himself from “sir”—which is how he had addressed him as an officer when he was his batman— to “my lord”) and refer to him as “his lordship.”  His surname, Crawley, is not ordinarily used, nor is “Lord” ever paired with “Robert.”  Peers use their title as if it were a surname:  he would sign his letters “Grantham” (to his friends and family) or “Robert Grantham;” close family and friends might refer to him that way.  His wife calls him “Robert” (referring to him as “Lord Grantham” to others), and his daughters call him “Papa” (ditto).  These forms of address are the same for marquesses, viscounts, and barons, but not for dukes.

The Countess of Grantham:  Cora, addressed as “Lady Grantham.”  All other usage as for her husband (except for “Grantham” alone), but in feminine form:  “my lady,” “her ladyship,” “Cora Grantham,” never “Lady Cora.”  Her husband and mother in law call her “Cora” and refer to her in conversation with each other as “Cora”— but presumably would not in conversation with anyone else. (The same for marchionesses, viscountesses, and baronesses, but not duchesses.)

Lady Mary Crawley:  as a daughter of an earl, she uses the “Lady Given name” style, but never “Lady Crawley.”  She does not use “Grantham.”  Servants address her as “Lady Mary” or “my lady,” and refer to her as “Lady Mary” or “her ladyship.”  Her sisters, Lady Edith and Lady Sybil, follow the same usage.  If they marry any peer, or the son of a marquess or duke, they will take their married title from him.   If they marry anyone else ranking below the younger son of a marquess, they will keep their “Lady Given name” style, merely changing their surname, with two exceptions:  if they marry the eldest son of an earl, they take his courtesy title as if he were a peer;  and if they marry the son of a viscount, they may choose whether to keep their “Lady Given name” style or take their husband’s style.  When Lady Mary meets her distant cousin Matthew, she asks him and his mother to call her “Cousin Mary,” and her sisters presumably follow suit with them.  (Compare Mr. Collins’s use of “Cousin” as a title in P&P, where the Bennet sisters do not reciprocate.)  Her immediate family members call her “Mary,” but no one else except her very closest friends (and eventual husband) would leave out the “Lady.”

Lady Rosamund Painswick:  the earl’s sister.  As the daughter of an earl, when she married an untitled gentleman, she kept her “Lady Given name” style but changed her surname.

In Austen, and perhaps the most famous daughter of an earl in all literature, there is  Lady Catherine de Bourgh.  She married Sir Lewis de Bourgh, who, whether he was a baronet or a knight, ranked lower than an earl’s heir, so she keeps her “Lady Catherine” style after marriage, as did her sister, Lady Anne Darcy.

The Dowager Countess of Grantham:  Violet, the earl’s (widowed) mother, who lives nearby in her Dower House.  She is addressed as “Lady Grantham,” just as the current countess is, but is usually referred to as “The Dowager” or “The Dowager Lady Grantham” (or even more formally as “The Dowager Countess”) to distinguish her from her daughter-in-law.  Her son calls her “Mama” and her granddaughters “Granny.”  Her daughter-in-law apparently calls her “Lady Grantham.”  The servants address her as “my lady” and refer to her as “her ladyship,” “The Dowager,” or “The Dowager Countess.”

It’s odd that Mrs. Crawley, when introduced to the dowager, offers her hand and says, “what shall we call each other?”  Mrs. Crawley otherwise seems to have good instincts and well-bred manners, but this appears to be a poor judgment on her part.  First, since Lady Grantham outranks her so significantly, it is for her to offer her hand to Mrs. Crawley if she chooses, not the other way around.  And second, I can’t imagine what Mrs. Crawley expects:  does she think she’ll be asked to call the dowager “Granny?”  The only way this vignette makes any sense to me is if there is some dialogue immediately preceding that’s been cut where Cora and/or Robert invite her to address them as “Cousin” (which seems likely, since Lord Grantham refers to her later as “Cousin Isobel”).  Regardless of the reasons, this opening shot in Lady Grantham’s campaign against the usurper is as funny as it is rude.  No one knows better than an elderly aristocratic lady how to be really rude!  (And given her razor-sharp tongue, I’m not convinced that her “what is a week end?” query isn’t a quip rather than an innocent question.  I wouldn’t put it past her to say it just to put the despised interloper in his place.)

If the earl had a son, he would bear a courtesy title of one of his father’s subsidiary titles, usually a viscount.  We don’t know what Lord Grantham’s actual subsidiary titles are, though.  Heirs who are not eldest sons (or grandsons) of the present earl do not get this courtesy title.

If the earl had had more than one son, the younger ones would have the title of “The Hon.” prefixed before their given and surnames, but would be addressed simply as “Mr. Crawley” because “The Hon.” is not used in speech.  They would be referred to and addressed as “Mr. Given name” (or “Master Given name” while children) by and to the servants.  Although their sisters get to use “Lady,” they would not get to use “Lord.”  That is reserved for the younger sons of marquesses and dukes (whose daughters also are “Lady”).  “The Hon.,” however, is used by younger sons of earls and by all children of viscounts and barons.

Mr. James Crawley:  the earl’s first cousin and heir presumptive, since the earl has no sons.  He was the son of the earl’s uncle, a younger brother of his father, who would have been “The Hon. Given name Crawley” as the younger son of an earl (the current earl’s grandfather).   Since he was the heir, we know that the earl had no surviving brothers, or deceased brothers who fathered sons (because if any had survived, he would be the heir).  The household staff, who knew Mr. James from his childhood, called him “Master James” as a child, then “Mr. James.”  He would have been addressed and referred to as “Mr. Crawley” by most people.

Mr. Patrick Crawley:  James’s only son, the next in line for the earldom after James.  Likewise called “Master Patrick” by servants in his youth, he would have been addressed and referred to as “Mr. Crawley” by most people, or “Mr. Patrick” to distinguish him from his father.  He was privately betrothed to Lady Mary (his second cousin), thus allowing the present earl’s (future) grandson to eventually inherit.

Image from Downton Abbey Seasin1: Dan Stevens as Matthew Crawley © Carnival Film & Television Limited 2010 for MASTERPIECE

The heir to Downton, third cousin once removed, Matthew Crawley (Dan Stevens)

Mr. Matthew Crawley:  the earl’s third cousin, once removed, and after the deaths of James and Patrick, the heir presumptive to the earldom.  He is descended from a previous earl:  the great-great-grandfather of the present earl, who would be Matthew’s 3rd great grandfather (the extra generation being the “once removed”).  Since he is the heir, we know that the earl had no surviving paternal uncles or great-uncles, or deceased ones who fathered sons (and so forth).  He is now being considered as a match for Lady Mary (his fourth cousin), and has been brought to live on the estate so that he can learn about his patrimony.  He is addressed by most people as “Mr. Crawley” (or, less formally, “Crawley”), and the family address him as “Cousin Matthew,” while Lord Grantham calls him just “Matthew” in a paternal way.  The servants address him as “sir.”

Mrs. Crawley:  Matthew Crawley’s (widowed) mother, Isobel.  Matthew calls her “Mother,” the servants call her “madam” or “ma’am,” and Lord Grantham and Lady Edith call her “Cousin Isobel:”  presumably other members of the family do as well (except for Granny, of course).  Everyone else calls her “Mrs. Crawley.”

The Duke of Crowborough:  a suitor of Lady Mary’s, he is addressed by members of society as “Your Grace” upon first introduction, and thereafter as “Duke” (or, less formally, “Crowborough”) and as “Your Grace” by everyone else, and referred to as “the Duke.”  We never even learn his given name.

Sir Anthony Strallan:  a neighbor, and a baronet or knight.  We haven’t met him yet, so I’m not sure of his exact rank.  He would be addressed as “Sir Anthony” by everyone, or, less formally, “Strallan” by friends and family.

The Hon. Evelyn Napier:  The son and heir of Viscount Branksome (a peer whom we have not met), and a suitor of Lady Mary’s.  He is “The Hon.” because he is the son of a Viscount (but does not get a “courtesy peerage” title, which is only for the heirs of earls, marquesses, and dukes).  He is addressed as “Mr. Napier,” because “The Hon.” is never used in speech, and less formally by friends and family as just “Napier.”  (In Austen, the Dowager Viscountess Dalrymple and her daughter The Hon. Miss Carteret are featured to set off Sir Walter’s snobbishness, and the text demonstrates that “The Hon.” is used in the newspaper and on calling cards, but never at any other time.  We never learn Miss Carteret’s given name.)

Mr. Kemal Pamuk:  an attaché at the Turkish Embassy, who apparently has no English-equivalent rank other than “Mr.”

I haven’t found any obvious errors in the styles and usages of names and titles in this production, which is unusual, to say the least.  I haven’t noticed any of those modern usages that tend to creep into Austen adaptations, like male acquaintances addressing each other by their first names rather than surnames in Persuasion and Mr. Darcy’s mother being referred to as “Mrs. Darcy” by Mrs. Reynolds in the 1995 P&P during Lizzy’s tour of Pemberley.  I am happy, gentle reader (or viewer, as the case may be).

Laura A. Wallace is a musician, attorney, and writer living in Southeast Texas.  She is a devotee of Jane Austen and Georgette Heyer and is the author of British Titles of Nobility:  An Introduction and Primer to the Peerage (1998).

Image of Highclere Castle, Hampshire, England © PBS

Downton Abbey continues with episode three on Sunday, January 23rd, 2011 at 9:00 pm ET (check your local listings).

Further reading

Text © 2011 Laura A. Wallace, images courtesy © Carnival Film & Television Limited 2010 for MASTERPIECE and PBS

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Image of Highclere Castle, Hampshire, England

Are you as baffled by the entail in Downton Abbey as its fictional characters the Crawley family? Any Jane Austen fan worth their weight in syllabub will have the answer for you. It also helps if they are a practicing attorney. Please welcome Janeite, lawyer and Downton Abbey fan James F. Nagle today. He has kindly agreed to explain all the property law issues that fuel the plot in this new hit series currently airing on Masterpiece Classic PBS. Downton Abbey has millions of viewers entranced, and Jane Austen aficionados glad they previously researched English primogeniture law.

Laurel Ann asked me to write a short blog on the legal subtleties of Downton Abbey.

Basically, Lord Robert, the Earl of Grantham, is the head of Downton Abbey, a magnificent estate, in the Crawley family for centuries. The Earl and his wife had no sons which is a major problem because the estate is entailed to a male heir. While the time is 1912, the laws on inheritance mirror those in Jane Austen’s time. (Major changes would occur later in the century but that is another story.)

It is vital to understand the importance that ownership of an estate had, both in 1912 and in the Regency-era. More than just a home, it made a family part of the aristocracy or gentry. Historically, the land produced a steady income that freed the family from having to earn its living by daily effort. They could dabble in the arts, become involved in politics, or lead a life of idleness.

This gave land a cachet that went beyond cash or movable goods. It was not only the major source of wealth in an agricultural community; it was the ultimate status symbol, not just for one person for one generation, but on the family so long as it lasted. Owning land was essentially a sacred trust for land owners. They held the land in trust for their future generations and thus had a duty to preserve what had been passed on to them.

Today when we think of family, we think of spouses, children, parents, grandchildren. But in Jane Austen’s time and in 1912, “family” was a much broader abstract concept with individuals as interchangeable commodities. How else can you explain making sure that property goes only to a male heir, including probably someone that you’ve never met? The present owner or occupant was merely a temporary custodian for the next family member.

The Earl of Grantham (Hugh Bonneville) and Countess Grantham (Elizabeth McGovern) in Downton Abbey (2011)

The Earl and Countess of Grantham married Cora Levinson for convenience. Her dowry fueled the struggling estate and his title made her an aristocrat by marriage and her children by birth.

That love of the estate and duty to the generic family is a main plot driver. The Earl had married a rich American, Cora, to secure her fortune to run the estate. This was by no means unusual. Many members of the aristocracy had become “land poor” by the early days of the 20th Century. These gorgeous estates, which required a battalion of servants, had been self-sustaining for centuries. Now they needed an influx of cash to be kept up.  Hence, the drive to marry for money intensified. That brings us to a discussion of women’s rights which, especially regarding property, were severely limited.

Periodically you will hear that women could not own property in Jane Austen’s time.  This is not accurate. Certainly Lady Catherine de Bourgh, Lady Russell, or Mrs. Ferrars owned property. If there was a husband, the woman could not normally own property. It was subsumed into him. Blackstone, in his commentaries written in the 1760s put it this way:  “By marriage, the husband and wife are one person in law; that is, the very being or legal existence of the woman is suspended during the marriage, or at least is incorporated and consolidated into that of the husband . . .”

Two dangers threatened a landed estate: 1) Division. If an estate were divided equally between all sons or children over several generations, then an estate, originally sufficient to make its holder a member of the gentry, became a multitude of increasingly smaller farms that, individually, didn’t qualify descendents for the same social status; and 2) Dissipation. If the head of the family (a wastrel or a foolish speculator) were to sell, voluntarily or forced by creditors, his land to raise funds, and then fritter away the sales proceeds, the whole family sinks into obscurity, obviously not only an embarrassment but a breach of faith to one’s ancestors and descendants. Primogeniture was devised to eliminate division. Entailments were devised to combat dissipation.

With that background, it is perfectly logical and reasonable for a landowner to give the estate to one child. Moreover, it then becomes perfectly logical to give it to the oldest child. That way, the future squire of the manor can be designated at birth.

Finally, considering what was said earlier about women’s rights, it makes little sense to give it to a daughter. If the Earl gave it to a daughter and she marries someone, a Mr. Wickham, for example, he does not merely have access to the estate, it becomes his estate; it is subsumed within him. So for these reasons, the practice of primogeniture began which keeps the estate intact and under the control of the head of the family in each generation.

Chawton Manor House, Hampshire circa 1913

A picture of Chawton Manor House circa 1913, the same era as Downton Abbey’s setting. Jane Austen’s elder brother Edward inherited the estate in 1794, not from his father, but from a cousin, Thomas Knight, who without any children made Edward his heir. The estate had previously passed down in the family through the female line because the property was fee simple and not entailed. (editor’s note)

While primogeniture was the preferred inheritance method, it was not the absolute law.

The best example in Jane’s writings of a departure from primogeniture was Mrs. Ferrars in Sense and Sensibility. Unhappy with her son Edward Ferrars’ choices, she simply wrote him out of the will and gave it to his younger brother, Robert.

The Earl of Grantham has no sons but three daughters—Mary, Edith, and Sybil (shades of P&P!!). Miss O’Brien, Cora’s maid says that women cannot inherit. That is not correct. They cannot inherit the title but if the Earl owned Downton Abbey outright (in fee simple absolute) he could leave it to his wife or his three daughters and ignore the rule on primogeniture.

Unfortunately, the Earl does not own the estate outright. It is entailed. An entail was a legal device to ensure that property would be handed down in a way that suited the ancestor, normally to a male heir, thus keeping the family estate intact.

In the entail system, the property owner, The Earl’s father, does not pass it in fee simple to the son. The Earl has a life estate, meaning he has the full use of the property during his life and, at the end of his life, it will pass to his son or to someone else in the family- often the closest male heir.

The Earl had a good relationship with the heir, his first cousin James Crawley, and there was even an engagement between the Earl’s oldest daughter Mary and the heirs son Patrick. However, the heir and his son have both perished on the Titanic. So the new heir, Matthew Crawley, is a lawyer with no previous relationship to the Earl. At the Earl’s death, the new heir gets the estate, including Cora’s money!!!! That is the main plot driver in the story – how to break the entail.

When I read that the characters were trying to get out of the entail, I assumed they were talking about “cutting off” the entail, which was common in Austen’s time and is mentioned in P&P as Mrs. Bennet’s plan when she first married Mr. Bennet. The way to cutoff an entail would be for an agreement of a current tenant and the next male heir, who would then hope to do the same with his heirs.

Downton Abbey Season 1: Maggie Smith as Violet, Dowager Countess Grantham

Violet, the Dowager Countess of Grantham wants to “smash” the entail and joins forces with her daughter-in-law to advocate her son to pursue legal methods.

However, having seen the first episode, that is not what is going on. As Maggie Smith’s character, The Dowager Duchess of Grantham, states, they want the entail to “be smashed” – not a precise legal term. The Dowager and Cora want to separate Cora’s money from the building and lands of Downton Abbey, so that Cora and her daughters will retain the money, or what is left of it, that she brought into the marriage. Therein lies the difficulty. As stated above, typically a woman’s property was subsumed within that of her husband’s at the point of the marriage. It could, however, be fenced off by means of a trust or other legal document. That “loophole” is what the Dowager and Cora are trying to find. However, the family lawyer, Murray, has no hope.

He opines to the Earl that the Earl’s father had “tied the knots pretty tight” when the Earl and Cora were married. I take that to mean that he had drafted an agreement by which Cora’s money was unquestionably and irrevocably transferred to the husband and therefore to the estate with no hope of successfully challenging it. I presume that the document is not so patently one-sided that a judge would throw it out as unconscionable.  It probably had enough legal language to indicate that Cora was receiving something valuable in return and that portions were being settled on any future daughters (the Earl mentions this in his conversations with the Duke of Crowborough). So any reviewing judge might well conclude that while the agreement might have unfortunate consequences now, it was not unconscionably one-sided at the time of drafting and signing.

Indeed, it is that legal conclusion that forced the Earl not to even attempt a challenge.  First, it would be a waste of time and money. Second, even if he were successful, the title, land and buildings would go to Matthew, the new heir, but the money needed to maintain the property would be kept by Cora. As a result, Downton Abbey would fall into disrepair and therefore disrepute and the new heir might be forced to sell it off in total or in part. This, the Earl concludes, is a breach of that sacred trust to the family and to the surrounding community, which is obviously so dear to him.

Stay tuned!

James F. Nagle is a lawyer in Seattle. He is the membership chair of the Puget Sound Chapter and the National Secretary of JASNA.

Thanks for the ‘briefing’ James. One can never know enough about the “great matter” of the entail in English property law. We shall see how the Crawley family proceeds and if the entail is indeed “smashed.”

Episode two of Downton Abbey airs next Sunday, January 16th, 2011 at 9pm ET (check your local listings)

Further reading

4838-5795-2008, v.  1

Text © 2011 James F. Nagle, images courtesy © Carnival Film & Television Limited 2011 for MASTERPIECE

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Mrs. Beeton's Traditional Christmas Plum Pudding circa 1890s

I recently read the delightful Regency-era Christmas novel The Mischief of the Mistletoe, by Lauren Willig. Our hero Reginald “Turnip” Fitzhugh and heroine Arabella Dempsey are brought together by a Christmas pudding! Yep. A very creative ice-breaker to introduce and spark a romance, right?

The Mischief of the Mistletoe: A Pink Carnation Christmas, by Lauren Willig (2010)In 1803, Arabella is an instructor at Miss Climpson’s Select Seminary for Young Ladies in Bath, where “Turnip’s” sister Sally is a pupil. He is delivering her Christmas hamper to her and she in turn gives him a small muslin-wrapped and beribboned Christmas pudding which he proceeds to drop after barreling into to our heroine in the making in the hallway of the school. After profusely apologizing, he bounds out the door with Arabella in pursuit in an attempt to return the pudding to him:

“Mr. Fitzhugh?” she called after him, holding the small, muslin-wrapped parcel aloft. “Mr. Fitzhugh! You forgot your pudding!”

Blast. He didn’t seem to have heard her. Lifting her skirts, Arabella hurried down the short flight of steps. Mr. Fitzhugh, his legs longer that hers, was already some way down the street, making for a very flashy phaeton driven by a team of matched bays.

“Mr. Fitzhugh!” she called, waving the pudding in the air, when the second man in one day knocked the breath out of her by taking a flying leap at the pudding she held in her hand.

It must have been pure stubbornness that caused her to keep her grip, but as the man tugged, Arabella found herself tugging back. Harder.

“I need that pudding!” her growled. “Give it over.”

“No!” gasped Arabella, clinging to the muslin wrapper with all her might. People couldn’t just go about taking other people’s puddings. It was positively un-British.

Indeed! “Turnip” comes to her rescue, fending off her assailant and hauling her off the ground for a second time in a day. The Christmas pudding is slightly askew from its original round shape, but what puzzles her most is a piece of paper attached to it written in French. Is it a cryptic message? A clue? A joke? It is this mystery that draws them together and the catalyst to their adventure and eventual romance.

If you’d like to find out how it all turns out for Turnip and Arabella – today is the last day to enter a drawing for two free copies of The Mischief of the Mistletoe, by Lauren Willig. Contest details can be found here, or leave a comment in this post telling me your Christmas pudding stories!

Cooking the Christmas pudding (1848)

Making a Christmas pudding is quite a lengthy process involving a long list of ingredients. Here is a description of the boiling in a large “copper” during Victorian times.

A large cylindrical metal (often copper) container with a capacity of between 20 – 40 gallons (73-145 litres), sometimes encased in brick, under which a fire could be lit to heat the contents. Apart from the preparation of workhouse gruel, coppers were used for washing clothes and for heating large quantities of water. Since the copper was the largest container in the house it was also used at Christmas for boiling the Christmas pudding which tied inside a cloth, was immersed in the hot water. Charles Dickens World

The Christmas pudding has been a traditional treat in England for centuries. For those of us who did not grow up with it as a holiday season staple, here is a very brief history of the Christmas pudding from The English Tea Store, one of my favorite online retailers for those Anglophiles, like myself, who live thousands of miles away from the mother England!

Serving the Christmas pudding

Christmas pudding, also known as plum pudding (because of the abundance of prunes), originated in England. It is traditionally made five weeks before Christmas, on or after the Sunday before Advent. That day was often deemed “Stir-up Sunday,” and each family member or child in the household gave the pudding a stir and made a wish.

The rich and heavy pudding is boiled or steamed, made of a heavy mixture of fresh or dried fruit, nuts and sometimes suet, a raw beef or mutton fat. Vegetarian suet may also be used for a lighter taste. The pudding is very dark, almost black, and is saturated with brandy, dark beer, or other alcohols. The puddings used to be boiled in a “pudding cloth,” but today they are usually made in basins.

Many households stirred silver coins (for wealth), tiny wishbones (for good luck), a silver thimble (for thrift), a ring (for marriage), or an anchor (for safe harbor) into the mixture, and when served, whoever got the lucky serving, would be able to keep the charm. When silver coins were not as readily available, the practice ended because people feared putting alloy coins in their pudding. Today small token coins and other objects are made just for this use.

After the pudding has been steamed, it is kept in a cool dry place for several weeks or longer. It will need steamed for a few more hours on the day it is served. There are different ways Christmas pudding is served. Some decorate it with a spray of holly, douse it in brandy or set it on fire. Many families present the pudding in the dark or bring it to the table ceremoniously, where it is met with a round of applause.

Christmas pudding is eaten with brandy butter, rum butter, hard sauce, cream, custard or with a caster sugar. Families sometimes save one pudding for another holiday, like Easter, or even the next Christmas. Many argue that this takes away from the flavor, but that a good pudding will keep that long.

Recipes for plum puddings appear mainly, if not entirely, in the seventeenth century and later. It was not until the 1830s that the cannon-ball of flour, fruits, suet, sugar and spices, all topped with holly, made a definite appearance, becoming more and more associated with Christmas. It appears that Eliza Acton was the first to refer to it as ‘Christmas Pudding’ in her cookbook.

Collin Street Bakery Deluxe Fruitcake

From childhood, my earliest Christmas food memories included a fruitcake that arrived every year by mail from my Great Aunt Margaret and Uncle Palmer. It came from the famous Collin Street Bakery in Corsicana, Texas. Highly anticipated and greatly appreciated in our family,  I have never understood the ongoing jokes about their being only one fruitcake in the world that keeps being mailed away to relatives every year and never eaten. Not in my family!

So what’s the difference between an English Christmas pudding and an American fruitcake? They do contain many of the same ingredients: dried or candied fruits, nuts, and sometimes, wait for it… liquor and are both made weeks before eaten so the flavors can meld and the liquor can intoxicate the cake. From what I have gleaned over the years of taste testing, the difference between them is technique. The traditional English Christmas pudding is steamed and is very round in shape. I have read it described as a cannon ball! They are so moist that with the final addition of liquor on top, they can be dramatically flambéed (set on fire) and then brought flaming to the table with much pomp and ceremony, whereas, the American fruitcake is baked in round fancy cake or oblong loaf pans and the liquor is brushed on over weeks so it soaks in gradually. It is then sliced which reveals the glass window effect of the colorful candied fruits. In the gastronomical world, the American fruitcake is definitely the kissing cousin of the English Christmas pudding, though the Brits might disagree. We mustn’t dispute. They do have a few thousand years of Christmas traditions on us.

English Christmas pudding decorated with holly

I love fruitcake so much that for years I searched for and taste tasted dozens of recipes. I think I have found the perfect combination of tart fruit, sweet sugar, rich butter, crunchy nuts and fragrant liquor to “set me up forever.” The secret to my ultimate fruitcake is that I use dried golden fruits like apricots, pears, peaches, pineapple, papaya, golden raisins (no prunes or gooey candied fruits in my fruitcake, thank you very much) and soak them in really good quality bourbon for two weeks before baking the cake five weeks before you plan to eat it. It is a lot of work and very expensive – but, only the best things in life are!

PS. For all of you that are cringing over the thought of a sticky, gooey and overly sweet fruitcake brick that your Great Aunt Winifred sends every holiday season, I have good news. You can re-gift it to Cousin Harold in Poughkeepsie who you have not seen in twenty years, and order one of the many incredibly delectable varieties offered from Collin Street Bakery instead. They are worlds away from that bad-rap fruitcake that is circumnavigating the globe at this very moment. Or, you can sweet talk me into sharing my super-secret recipe and make one for yourself. I promise, it will not be around long enough to necessitate re-gifting.

Merry Christmas & Happy Holidays to all my readers. Now, go forth and eat your Christmas puddings and fruitcakes as more enlightened connoisseurs.

Cheers, Laurel Ann

© 2007-2010 Laurel Ann Nattress, Austenprose

(Disclaimer: Just in case the FTC has nothing else to do on Christmas Eve and is reading this blog, please do not be Scrooge and accuse me of being paid off by Collin Bakery to promote their fruitcakes. This is a true story. I did not make it up. I wrote about their great product without payment or free fruitcakes, though I would not turn one down if they offered! Who could?)

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Jane Austen Birthday banner from Google 2010

Put on you party hats and rip open the streamers. Today is Jane Austen’s 235th birthday! Even Google is getting into the spirit. Isn’t the banner they are displaying today lovely?

Welcome to the Happy Birthday Jane Blog Tour sponsored by Maria Grazia of My Jane Austen Book Club blog. If you have joined the party in progress, you have landed on one of the fifteen Austen bloggers or Austenesque authors that are honoring our favorite author today. The full list of participants is listed at the bottom of this blog post.

In addition to celebratory posts in honor of our dear Jane, there are tons of giveaway prizes. Just leave a comment before December 22, 2010 on one or all of the blog posts on the tour to multiply your chances of winning more of the prizes. Full details of the giveaway can be found on the My Jane Austen Book Club blog who will be announcing the winners.

Jane Austen's birthplace, Steventon Rectory, Hampshire, England

The Birth of a Genius

Born on the 16 of December in 1775 at Steventon Rectory near Alton Hampshire, Jane entered this world during a record snow storm. She was the seventh child and second daughter born to Reverend George Austen and his wife Cassandra nee Leigh. Here is an excerpt from a letter written on 17 December, 1775 from Jane Austen’s father to his sister-in-law Susannah Walter:

‘You have doubtless been for some time in expectation of hearing from Hampshire, and perhaps wondered a little if we were in our old age grown such bad reckoners but so it was, for Cassy certainly expected to have been brought to bed a month ago: however last night the time came, and without a great deal of warning, everything was soon happily over. We have now another girl, a present plaything for her sister Cassy and a future companion. She is to be Jenny, and seems to me as if she would be as like Henry, as Cassy is to Neddy.’

It is the only remaining written reference to Jane Austen being called Jenny.

The Abbey School, Reading, England, Gatehouse from Austenonly

Early Education

Educated briefly at The Abbey School in Reading, Jane was basically a home schooled girl. At the knee of her Oxford educated father Reverend Austen she read extensively from her father’s diverse personal library of classics and, wait for it, NOVELS. Books would be her biggest influence in forming her education. Yes. The Austen’s were novel readers. This dramatic emphasis may sound inconsequential today in the age when novels outsell nonfiction hand over fist, but in the late eighteenth-century when Austen was being educated, poetry was the preferred medium. Novels were considered low-brow fare. The novel as we know it today was only yet taking flight on the wings of Samuel Richardson, William Defoe and Henry Fielding. Austen was exposed to these writers through her father, and other more adventurous prose from Gothic fiction writer Anne Radcliffe and her favorite romantic novelist Fanny Burney. Another early influence upon her education was the family’s interest in theatricals. Many popular plays were produced by the Austen children setting the stage, so-to-speak, for her later talent in her novels for creating drama and emotion in her dialogue and building arcs in her plots.

Illustration by Joan Hassall, Love and Freindship, The Folio Society (1973)

Run mad as often as you chuse; but do not faint.” Love and Freindship

A Writer in the Making

Reverend Austen encouraged both of his daughters to develop their talents and nurtured their creativity by giving them expensive supplies for writing and drawing. From 1787 to 1793, Jane wrote several poems, stories and plays for the amusement of her family. These were later reassembled into her personal writing journals given to her by her father and transferred into a “fair copy” in three bound notebooks. These are now called her Juvenilia. They contain many comical, far-fetched and boisterous tales of murder, death and romantic melodrama. Exuberant and high-spirited, this was Austen as a writer in the making, totally unbound, experimenting with style, content and letting loose with her wildest imaginings. Among my favorites in this collection are Love and Freindship (yes, note the spelling of e before i), The History of England and The Beautiful Cassandra. You can view scanned images of the original manuscripts at Jane Austen’s Fiction Manuscripts Digital Edition online website. They are a real treat.

History of England Illustrations by Cassandra Austen

Volume the First

Volume the Second

Volume the Third


Happy Birthday Jane Austen Blog Tour 2010

Visit the other Happy Birthday, Jane Blog Tour posts today:

  1. Adriana Zardini, at Jane Austen Sociedad do Brasil
  2. Laurel Ann, at Austenprose – A Jane Austen Blog
  3. Vic Sanborn, at Jane Austen’s World
  4. Katherine Cox, at November’s Autumn
  5. Karen Wasylowski, at Karen Wasylowski Blog
  6. Laurie Viera Rigler, at Jane Austen Addict Blog
  7. Lynn Shepherd, at her Lynn Shepherd Blog
  8. Jane Greensmith, at Reading, Writing, Working, Playing
  9. Jane Odiwe, at Jane Austen Sequels Blog
  10. Alexa Adams, at First Impressions Blog
  11. Regina Jeffers, at her Regina Jeffers Blog
  12. Cindy Jones at First Draft Blog
  13. Janet Mullany at Risky Regencies Blog
  14. Maria Grazia at My Jane Austen Book Club Blog
  15. Meredith at Austenesque Reviews

Get Your Free, Free, and did I say Free, Ebooks, for two days only!

In celebration of Jane Austen’s Birthday, Sourcebooks, the world’s leading publisher of Jane Austen fiction, is offering free digital downloads of ten of their popular sequels for two days only, December 16 and 17, 2010. I have placed links to the NookBook editions of each of the books being offered. Follow this link to my previous post listing all ten novels and six of the Jane Austen illustrated editions being offered today. Enjoy!

Here is a link to Sourcebooks for the free Jane Austen eBooks with all of the links to download for Kindle, Nook, iBooks, Sourcebooks, Google eBookstore and Sony eBookstore.

Happy Birthday Jane. Thanks for many, many hours of enjoyment.

Cheers,

Laurel Ann

© 2007-2010 Laurel Ann Nattress, Austenprose

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As Jane Austen fans around the world celebrate her birthday on December 16th, one lucky (and very rich) Janeite will win an auction at Sotheby’s in London for an extremely rare presentation copy of Emma sent to author Maria Edgeworth from Austen’s publisher as a gift from the author after its publication on 23 December 1815. This is the second presentation copy to be offered at auction in as many years after Bonhams sold a copy given by Austen to her dear friend Anne Sharp for £180,000 setting a new auction record for a printed book by the British author. The new owner Jonkers Books resold the edition earlier this year to an undisclosed British collector for £325,000. Considering that the Edgeworth edition has remained in her family for close to two hundred years and is “unique in being the only known copy of Emma given by Jane Austen to a fellow writer,” the estimated price for volumes I and III (volume II is missing?) of £70,000-100,000 seems rather low. One assumes that the missing volume II is the diminishing factor.

Engraving of Maria Edgeworth from Evert A. Duyckinck’s A Portrait Gallery of Eminent Men and Women of Europe and America, with Biographies ( Johnson, Fry and Co, 1872)

Austen admired Maria Edgeworth’s work greatly expressing her enthusiasm to her niece Anna Austen an aspiring novelist in 1814, “I have made up my mind to like no novels really, but Miss Edgeworth’s, yours & my own.” Unfortunately, Edgeworth’s esteem was not reciprocated. After reading Emma she wrote to her half-brother Charles Sneyd Edgeworth that “There was no story in it…” Julie at Austenonly has written an excellent account of Jane Austen and Maria Edgeworth’s relationship, and her honest opinion of what many claim to be Austen finest work.

Also available in the same lot is a Wedgewood Dinner Set that has been on display at the Jane Austen House Museum in Chawton. It has been passed down in the Knight family since it was originally purchased in London by Jane’s brother Edward Austen Knight in 1813. Jane actually assisted her brother and his daughter Fanny in making the selection. “We then went to Wedgwoods where my brother and Fanny chose a Dinner Set, I believe the pattern is a small Lozenge in purple, between Lines of narrow Gold; – and it is to have the Crest.” An estimate of £50,000-70,000 is in place. It is sad that the family needs to sell the china and a great loss to the museum. Maybe another benevolent Janeite will step forward and rescue it from speculators. It is a lovely set.

Both of the extremely rare items with an Austen association will be available in Sothebys sale of English Literature, History and Children’s Books & Illustrations in London on the 16th of December, 2010.

Photos: Sotheby’s.

Related posts:

© 2007 – 2010 Laurel Ann Nattress, Austenprose

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Gentle readers: Last week I reviewed Lynn Shepherd’s new Austen inspired mystery Murder at Mansfield Park. Not only is she an accomplished novelist, she is a distinguished Samuel Richardson scholar with a new book Clarissa’s Painter: Portraiture, Illustration, and Representation in the Novels of Samuel Richardson, published by the venerable Oxford University Press. Richardson was Jane Austen’s favorite novelist and I could not pass up the opportunity for Lynn to chat about his impact on her writing and the English novel. This is her generous contribution. Enjoy!

What influence did Samuel Richardson have on novels like Mansfield Park?

Jane Austen’s biographers often have to resort to guesswork and speculation about many aspects of her life, but there’s one thing we do know, and that’s who her favourite author was. According to her nephew, James-Edward Austen-Leigh, her knowledge of Samuel Richardson “was such as no one is likely again to acquire . . . Every circumstance narrated in Sir Charles Grandison, all that was said or done in the cedar parlour, was familiar to her; and the wedding days of [characters like] Lady L. and Lady G. were as well remembered as if they had been living friends.”

Richardson is a literary hero of mine, too, and I always think it’s sad that so few people read him nowadays. Not only because Clarissa, in particular, is one of the great masterpieces of European literature, but because it’s only by reading Richardson that you really understand the tradition Austen was writing in, and where she got some of the inspiration for her books.

So who was Samuel Richardson?

Academics and critics have been arguing for years about who wrote the first English novel. Some argue for Defoe and Robinson Crusoe, others for Fielding, but I’ve always been a firm supporter of Pamela, which Richardson published in 1740.

Pamela is a novel-in-letters, written by a young serving-maid to her parents, in which she describes her master’s attempts to seduce her. But as the subtitle (‘Virtue Rewarded’) suggests, all’s well that ends with a wedding. It sounds pretty standard stuff now, but at the time it was a publishing sensation.  There were 5 editions by the end of 1741, with an estimated 20,000 copies sold. It was also the first book to have what we would now call a ‘promotional campaign’. As a printer himself, Richardson employed all the tricks of the book-trade, including newspaper leaders and celebrity endorsement, and may even have encouraged the publication of a pamphlet that denounced the novel as pornographic, which certainly had a predictably healthy effect on sales!

But if it was Pamela that was ground-breaking, Richardson’s next novel, Clarissa, is the one that really established a new kind of prose fiction in English. This, like all Richardson’s books, is an epistolary novel, and it’s worth remembering that when Austen first put pen to paper seriously herself, she chose exactly this form – first in Lady Susan, and then in Elinor & Marianne, the first version of Sense & Sensibility. Clarissa is the story of a young woman who’s tricked away from her family by the libertine, Robert Lovelace, and eventually raped. The story evolves through two parallel correspondences – Clarissa’s with her friend Anna, and Lovelace’s with his confidant Belford. The depth and subtlety of the psychological characterisation is extraordinary, and you can see immediately why Henry Austen says his sister was such an admirer of “Richardson’s power of creating, and preserving, the consistency of his characters.” However, Clarissa is undeniably a very long read, so if you’d like a taster first, I recommend the BBC adaptation starring Sean Bean. It’s quite old now, but really worth taking a look at.

Sir Charles Grandison

The interesting point about that last quote, though, is that it’s actually about Sir Charles Grandison, Richardson’s last, longest, and least interesting book. All the same it was undeniably Austen’s favourite, and the one that had the most direct influence on her literary technique. As the critic Marilyn Butler has said, “Sir Charles Grandison contributed more than any other single book to the tradition of social comedy… which Jane Austen inherited.” Again and again, you can see Austen using characters and episodes from Richardson, and re-working them for her own purposes. If you’re interested there’s an excellent book on this whole subject by Jocelyn Harris called Jane Austen’s Art of Memory.

The parallels between Grandison and Mansfield Park, in particular, are especially interesting. Both books deal with similar themes, like marriage, education, and the relationships between parents and children, but there are also some striking similarities between many of the characters, notably the respective heroes and heroines – Fanny Price and Harriet Byron, and Edmund Bertram and Sir Charles. For example, both Fanny and Harriet are either literally or effectively orphans, who are adopted by a much richer family: as a result they both acquire two ‘sisters’ and a ‘brother’ they rapidly fall for, even though the man himself is in love with someone else entirely.

There’s no question that Austen loved Sir Charles Grandison, but that doesn’t mean she wasn’t prepared to send it up gently. Isabella Tilney famously calls it an ‘amazing horrid book’, and sometime in the 1790s Jane and her niece Anna worked together to turn Richardson’s million-word novel into a ten-minute comic play for the family to perform. Though that’s rather easier than it sounds, because so little actually happens in Grandison: Sir Walter Scott recalled an old lady telling him she always chose to have that book read to her, because “should I drop asleep in course of the reading, I am sure, when I awake, I shall have lost none of the story, but shall find the party, where I left them, conversing in the cedar-parlour.”

One reason I mention this is because it’s something I always say to people who say you should never tinker with a literary classic like Austen, whether by writing sequels or pastiches, or creating new versions based on her works, like my own Murder at Mansfield Park. It’s useful to remind ourselves that Jane Austen did exactly the same thing, using Richardson both as the source text for a youthful skit, and – more seriously – as an important inspiration for her mature novels.  On that basis I think she’d be flattered that nearly 200 years after her death, so many of us still turn to her books to find inspiration for new work of our own.

Fast facts about the ‘Father of the Novel’

  • Born near Derby in 1689, Richardson was married twice and had six sons and six daughters, of whom only four girls survived.  His education was limited, but he became an extremely successful printer in London, not putting pen to paper on his own account until he was 50.
  • At the age of 13, Richardson was making money writing love-letters for young women he knew, an experience he claimed gave him his knowledge of the female heart.
  • When the villagers of Slough read of Pamela’s wedding in the newspaper they ran the church bell in celebration.
  • You can actually read Clarissa in ‘real time’, starting on January 10th, and finishing on December 18th.

They said…

“This Richardson is a strange fellow. I heartily despise him, and eagerly read him, nay, sob over his works in a most scandalous manner.” Lady Mary Wortley Montagu

“If you were to read Richardson for the story, your impatience would be so much fretted that you would hang yourself. But you must read him for the sentiment, and consider the story as only giving occasion to the sentiment”.  Samuel Johnson

He said…

“I thought [if Pamela were] written in an easy and natural manner… [it] might possibly introduce a new species of writing, that might possibly turn young people into a course of reading different from the pomp and parade of romance-writing”

Want to find out more?

There are good basic introductions to Richardson and his novels here:

The site below is also really interesting. Richardson didn’t just publish the first English novel, but the first illustrated novel too. He took advantage of Pamela’s runaway success by issuing a lavish ’collector’s edition’ two years later (though there were pirate illustrated versions before that). Richardson went to great expense to commission his own illustrations from two of the leading book engravers of the time. It’s fascinating to see him using these images as a way of ensuring that readers only saw ‘his’ version of Pamela the demure and virtuous heroine, and not – like many of his contemporaries, including Henry Fielding – “a pert little minx, whom any man of common sense or address might have had on his own terms in a week”!

Lynn Shepherd studied English at Oxford, and later went on to do a doctorate on Samuel Richardson, which has now been published by Oxford University Press. She’s also a passionate Jane Austen fan, and has just published Murder at Mansfield Park. You can visit her website and follow her on Twitter as GhostingAusten.

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Much has been written on the cause of Jane Austen’s lingering illness and untimely death in Winchester on 18 July 1817. I have a stack of biographies that I perused in search of a poignant passage that would express the tenor of this solemn day. Her great biographers Claire Tomalin, David Nokes and Elizabeth Jenkins give detailed accounts from family in attendance and their own conclusions. I find her nephew James Edward Austen-Leigh’s interpretation from his A Memoir of Jane Austen simple and touching. Even though it is not elaborate or detailed, it is the only version from the view point of someone who actually knew her, and I find that unique and invaluable.

Throughout her illness she was nursed by her sister, often assisted by her sister-in-law, my mother. Both were with her when she died. Two of her brothers, who were clergymen, lived near enough to Winchester to be in frequent attendance, and to administer the services suitable for a Christian’s death-bed. While she used the language of hope to her correspondents, she was fully aware of her danger, though not appalled by it. It is true that there was much to attach her to life. She was happy in her family; she was just beginning to feel confidence in her own success; and, no doubt, the exercise of her great talents was an enjoyment in itself. We may well believe that she would gladly have lived longer; but she was enabled without dismay or complaint to prepare for death. She was a humble, believing Christian. Her life had been passed in the performance of home duties, and the cultivation of domestic affections, without any self-seeking or craving after applause. She had always sought, as it were by instinct, to promote the happiness of all who came within her influence, and doubtless she had her reward in the peace of mind which was granted her in her last days. Her sweetness of temper never failed. She was ever considerate and grateful to those who attended on her. At times, when she felt rather better, her playfulness of spirit revived, and she amused them even in their sadness. Once, when she thought herself near her end, she said what she imagined might be her last words to those around her, and particularly thanked her sister-in-law for being with her, saying: ‘You have always been a kind sister to me, Mary.’ When the end at last came, she sank rapidly, and on being asked by her attendants whether there was anything that she wanted, her reply was, ‘Nothing but death.’ These were her last words. In quietness and peace she breathed her last on the morning of 18 July, 1817.

On the 24th of that month she was buried in Winchester Cathedral, near the centre of the north aisle, almost opposite to the beautiful chantry tomb of William of Wykeham. A large slab of black marble in the pavement marks the place. Her own family only attended the funeral. Her sister returned to her desolated home, there to devote herself, for ten years, to the care of her aged mother; and to live much on the memory of her lost sister, till called many years later to rejoin her. Her brothers went back sorrowing to their several homes. They were very fond and very proud other. They were attached to her by her talents, her virtues, and her engaging manners; and each loved afterwards to fancy a resemblance in some niece or daughter of his own to the dear sister Jane, whose perfect equal they yet never expected to see. [1]

Her burial and gravestone are a bit of an enigma. The fact that she was laid to rest in the north aisle of the nave at Winchester Cathedral is a mystery that has never been explained to me with any satisfaction. Why was she given this sacred spot reserved for dignitaries and aristocrats, not daughters of clergymen who wrote anonymously and were unknown by the general public? To add to the quandary, when her brother Henry composed the epitaph for her gravestone he mentioned her family and faith, but not her writing achievements. Is this a clue that her family did not acknowledge that she was being given this place of honor because of her novels? Why else would the church have approved her burial among saints, cardinals, bishops and other men of distinction? Regardless of the initial reason for approval, close to two hundred years later, she is befittingly its most famous resident.

The Jane Austen Story, an exhibit honoring Jane Austen continues at the cathedral until 20 September, 2010. You can visit Jane Austen’s final resting place and tour the exhibit on her life and funeral.

“I have lost a treasure, such a Sister, such a friend as never can have been surpassed, – She was the sun of my life, the gilder of every pleasure, the soother of every sorrow, I had not a thought concealed from her, & it is as if I had lost a part of myself…” Letter from Jane Austen’s sister Cassandra to her niece Fanny Knight, 20 July 1817.

Further reading

1. J. E. Austen-Leigh, A Memoir of Jane Austen (1989 reprint of 1871 2nd edition) Folio Society, London, p. 154-55

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Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Vic from Jane Austen’s World who shares with us her extensive knowledge of Regency culture and history in four posts during the event. Her fourth contribution is on music during Jane Austen’s era, how it influenced her life, and her writing.

“Yes, yes, we will have a pianoforte, as good a one as can be got for 30 guineas, and I will practice country dances, that we may have some amusement for our nephews and nieces, when we have the pleasure of their company.” – Jane Austen to Cassandra, 1808

Like many ladies of her era, Jane Austen was an accomplished musician. And so were her characters. In Pride and Prejudice, Mary Bennet, Elizabeth Bennet, the Bingley sisters and Georgiana Darcy could all play instruments with skill. Lady Catherine de Bourgh would have been a proficient, as would her daughter Anne, had she learned and practiced. Before the age of electricity and cable the world was largely silent musically speaking, save for the music played by family members, local musicians, or more famous musicians who were paid to play for the rich.

Musicians wandered the land, and London streets offered a pandemonium of sounds, much of it derived from musical instruments. The only music available in the home was that which amateur or professional performers could produce on the spot, so that the ability to play music well was crucial for all walks of life. From childhood on, young ladies were expected to play a musical instrument and study with music masters. Gentlemen sang as well and formed impromptu amateur groups that entertained in taverns and men’s clubs.

Continue reading at Jane Austen’s World

Further reading

Upcoming event posts

Day 20   July 14   Group Read: Chapters 57 – 61
Day 21   July 16   Mr. Darcy & Elizabeth Bennet
Day 22   July 24   Swag winners announced

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Dovedale in the Peak district of Derbyshire from Observations on the Mountains and Lakes of Cumberland and Westmoreland etc, by William Gilpin (1786)

Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Julie from Austenonly who shares with us her extensive knowledge of Regency culture and history in two posts during the event. Her second contribution is on travel writer William Gilpin whose influence upon Jane Austen is seen in Pride and Prejudice. Discover how she was able to describe the Derbyshire countryside even though she had never traveled there and why the use of the “picturesque” is a hidden joke in the plot.

Having read Henry Austen’s biographical notice of his sister, published in the posthumously printed first edition of Northanger Abbey and Persuasion, I knew from an early age, that Jane Austen was

enamoured of Gilpin on the Picturesque at a very early age…

and so when aged 15 I found a copy of his Observations on the Mountains and Lakes of Cumberland in what was then one of my favourite haunts, a second-hand bookshop in Dr Johnson’s home city of Lichfield, I bought it  immediately…But now comes a confession…Prepare yourself for something very dreadful… I didn’t read it for another 20 years.

I thought it would be deadly boring.

How wrong I was.

I should have trusted Jane Austen’s taste and judgement, and realised exactly why she was enamoured of him…..but we are getting ahead of ourselves. Before we explore his books and the reasons why I think she adored him, we ought properly to learn a little about William Gilpin’s life.

William Gilpin was born on 4 June 1724 near Carlisle, in Cumberland. He was the son of Captain John Bernard Gilpin and a Matilda Langstaffe . Captain Gilpin was considered to be one of the best amateur painters of the time, and this artistic talent seems to have passed through to the next generation, for William was obsessed with the correct way to view both pictures and landscape, and his younger brother, Sawrey Gilpin was to become a famous animal painter and indeed later contributed some illustrations to Williams books.

Continue reading on Austenonly

Further Reading

Upcoming event posts

Day 17  July 10     Group Read: Chapters 50 – 56
Day 18  July 11     Top Ten P&P editions in print
Day 19  July 12     Music at the Netherfield Ball

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Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Vic from Jane Austen’s World who shares with us her extensive knowledge of Regency culture and history in four posts during the event. Her third contribution is on dinning at the Netherfield Ball. Learn all about what the guests would have been served at Mr. Bingley’s lavish multiple course meal.

“As for the ball, it is quite a settled thing; and as soon as Nicholls has made white soup enough I shall send round my cards.” – Charles Bingley, Pride and Prejudice

The sit-down supper served at the Netherfield Ball in Pride and Prejudice probably occurred around midnight. By that time, people would be famished after their physical exertions or from playing cards nonstop in the card room. They had most likely eaten their dinner between 3-5 p.m. (earlier in the country, and later in Town). Dinners consisted of between 5-16 dishes and could last several hours. The best families would serve up two courses, for a meal’s lavishness depended on the number of courses and dishes that were served. Dishes representing a range of foods, from soups to vegetables and meats, would be spread over the table in a pleasing arrangement and would be set down at the beginning of the meal.

Continue reading at Jane Austen’s World

Further reading

Upcoming event posts

Day 15  July 07     Group Read: Chapters 43 – 49
Day 16  July 09     William Gilpin and Jane Austen
Day 17  July 10     Group Read: Chapters 50 – 56

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Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Mags from AustenBlog who shares with us her extensive knowledge of Regency history. Today she explores who drives what in P&P and why. Elizabeth may object to traveling fifty miles from Kent to Hertfordshire, but what is fifty miles of good road if you have a fine carriage? (or Henry Tilney to drive you)

An author—especially a talented and clever one like Jane Austen—subtly imparts information about her characters with details such as their occupation, their mode of conversation, and even something seemingly so minor as their carriage. In Pride and Prejudice, the alert reader can pick up information not only about the characters but about the plot itself from the type of carriage used by a character in a particular situation.

In Jane Austen’s day, a carriage was definitely a luxury item. They were expensive to purchase, naturally, and there were ongoing expenses in repair, storage, coachmen to care for and operate them, and the ongoing expenses of maintaining or renting horses to pull them; so it was a matter of interest to the impertinently nosy whether a person kept a carriage, and what kind. It was almost a method of broadcasting one’s wealth to the world.

“I do not believe a word of it, my dear. If he had been so very agreeable, he would have talked to Mrs. Long. But I can guess how it was; every body says that he is ate up with pride, and I dare say he had heard somehow that Mrs. Long does not keep a carriage, and had come to the ball in a hack chaise.”

Not that he isn’t capable of snobbery, but one suspects Mr. Darcy doesn’t particularly care about Mrs. Long and her carriage or lack thereof, and had plenty of other reasons not to talk to that lady at the Meryton assembly. Mrs. Bennet is here perhaps passing off her own personal snobbery onto Darcy.

Continue reading at AustenBlog

Further reading

Upcoming events posts

Day 13  July 03     Group Read: Chapters 36 – 42
Day 14  July 05     Music at the Netherfield Ball
Day 15  July 07     Group Read: Chapters 43 – 49

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Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Vic from Jane Austen’s World who shares with us her extensive knowledge of Regency culture and history in four posts during the event. Her second contribution is on dancing at the Netherfield Ball covering the etiquette and the popular dances of the day. Enjoy!

“So, he enquired who she was, and got introduced, and asked her for the two next. Then, the two third he danced with Miss King, and the two fourth with Maria Lucas, and the two fifth with Jane again, and the two sixth with Lizzy, and the Boulanger …” Mrs. Bennet about Mr. Bingley at The Netherfield Ball.

The English ballroom and assembly room was the courting field upon which gentlemen and ladies on the marriage mart could finally touch one another and spend some time conversing during their long sets or ogle each other without seeming to be too forward or brash. Dancing was such an important social event during the Georgian and Regency eras that girls and boys practiced complicated dance steps with dancing masters and memorized the rules of ballroom etiquette.

Balls were regarded as social experiences, and gentlemen were tasked to dance with as many ladies as they could. This is one reason why Mr. Darcy’s behavior was considered rude at the Meryton Ball- there were several ladies, as Elizabeth pointed out to him and Colonel Fitzwilliam at Rosings, who had to sit out the dance.

“He danced only four dances, though gentlemen were scarce; and, to my certain knowledge, more than one young lady was sitting down in want of a partner.”

Mr. Bingley, on the other hand, danced every dance and thus behaved as a gentleman should.

Ladies had to wait passively for a partner to approach them and when they were, they were then obliged to accept the invitation. One reason why Elizabeth was so vexed when Mr. Collins, who had solicited her for the first two dances at the Netherfield Ball, was that she’d intended to reserve them for Mr. Wickham. Had she refused Mr. Collins, she would have been considered not only rude, but she would have forced to sit out the dances for the rest of the evening.

Continue reading at Jane Austen’s World

Further reading

    Upcoming event posts

    Day 10  June 30     Group Read: Chapters 29 – 35
    Day 11  July 02     Carriages in Pride and Prejudice
    Day 12  July 03     Group Read: Chapters 36 – 42

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    “what delight! what felicity! You give me fresh life and vigour. Adieu to disappointment and spleen. What are men to rocks and mountains?” Elizabeth Bennet, Chapter 27

    Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Julie from Austenonly, a Regency history buff and Jane Austen aficionado of the first order.  Her first of two contributions during the event takes us on a similar journey that Elizabeth Bennet and her aunt and uncle Gardiner might have experienced on their tour through Derbyshire touring grand country houses.

    Tourism in the United Kingdom, visiting grand country houses and the untamed countryside, developed apace in the 18th century. The diaries of the period reflect this trend containing as they do many, many accounts of visiting differing parts of the country, and of course, the trip that the Gardiners and Elizabeth Bennet make to Derbyshire in Pride and Prejudice is an example of the typical tour that those who could afford to would want to make. Their original destination, The Lakes of Cumberland, Westmoreland and Lancashire, were terribly popular.

    The Gardiner’s second choice, Derbyshire, was almost as celebrated.

    Why this growth in domestic tourism? First, because of the developments in travel: if you couldn’t “get” to a country house/pleasant vale easily you simply couldn’t visit it. Improved roads-both routes and road surfaces- and the system of posting horse and carriages for hire, made travel easier for those who could afford it.  Secondly, The Grand Tour of Europe, as undertaken by Edward Knight, Jane Austen’s brother, was tourism on a grand lavishly expensive and foreign scale, but it became impossible to complete. The wars with Napoleon curtailed safe travel to Europe to a large extent, and so people turned to touring England and Wales for leisure and educational purposes.

    Continue reading on Austenonly

    Further reading

    Upcoming event posts

    Day 09  June 26     Group Read: Chapters 22 – 28
    Day 10  June 28     Dancing at the Netherfield Ball
    Day 11  June 30      Group Read: Chapters 29 – 35

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    Gentle Readers: in celebration of the ‘Pride and Prejudice without Zombies’ event over the next month, I have asked several of my fellow Jane Austen bloggers to share their knowledge and interest in Austen’s most popular novel. Today, please welcome guest blogger Vic from Jane Austen’s World who shares with us her extensive knowledge of Regency culture and history. Her first of four contributions during the event analyzes the costumes worn at the Netherfield Ball in three movie adaptations in comparison to the fashions of the day.

    The Netherfield Ball. Ah! How much of Jane Austen’s plot for Pride and Prejudice put on show  in this chapter! Elizabeth Bennet – its star – enters the ball room hoping for a glimpse of a strangely absent Mr. Wickham, but is forced to dance two dances with bumblefooted Mr. Collins, whose presence she somehow can’t seem to shake. (From his actions the astute reader comes to understand that this irritating man will be proposing soon.)

    Mr. Darcy then solicits Lizzie for a dance, and his aloofness and awkward silences during their set confirms in Lizzie’s mind that he suffers from a superiority complex. As the evening progresses her family’s behavior is so appalling (Mary hogs the pianoforte with her awful playing; Kitty and Lydia are boisterously flirtatious with the militia men; and Mrs. Bennet brazenly proclaims to all within earshot that Mr. Bingley and Jane are as good as engaged) that the only enjoyment Lizzie takes away from the event is in the knowledge that Mr. Bingley is as besotted with Jane as she is with him.

    In anticipation of furthering her acquaintance with Mr. Wickham, Lizzie probably dressed with extreme care, making sure both her dress and hair looked perfect. In the image below, Jennifer Ehle’s “wig” is adorned with silk flower accessories, and a string of pearls, which was the fashion of the time. She wears a simple garnet cross at her throat (Jane Austen owned one made of topaz) and her dress shows off her figure to perfection.

    Continue reading at Jane Austen’s World

    Further reading

    Upcoming event posts

    Day 7  June 23     Group Read: Chapters 15-21
    Day 8  June 25     Tourism in Jane Austen’s Era
    Day 9  June 26     Group Read: Chapters 22 – 28

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    My dear Cassandra, Where shall I begin? Which of all my important nothings shall I tell you first? – Jane Austen, June 15, 1808

    Two years ago I purchased the lovely illustrated volume My Dear Cassandra by Penelope Hughes-Hallet (1990). Inspired by Jane Austen’s close relationship with her sister Cassandra, it is chockablock full of her letters embellished with beautiful Georgian and Regency-era color illustrations of landscapes, portraits and buildings mentioned in her correspondence. Sadly, the book is out of print, but can still be purchased online through book dealers at Amazon and Advanced Book Exchange. It was also issued under The Illustrated Letters of Jane Austen in 1996. It is a treasure trove of information on the era and a wonderful glimpse into two famous sister’s correspondence.

    On April 1 of this year, Penelope Hughes-Hallet passed away at age 82. Born Penelope Fairbain in London in 1927, she spent her early childhood at Patience Close in Steventon, Hampshire (formerly known in Austen’s time as Glebe Farm). Since Steventon was also Jane Austen’s town of birth, we can imagine that the famous authoress’ life permeated her early life and later inspired her interest in the Regency-era leaving us with four fascinating books, two of which are richly illustrated editions: My Dear Cassandra (1990) and Home at Grasmere: The Wordsworths and the Lakes (1994). Her final book was a novel The Immortal Dinner (2000) inspired by the 1817 dinner-party given in London by the painter Benjamin Haydon whose guests included poets Wordsworth and Keats, author Charles Lamb and other significant men arts and science of the day. It received high praise from critics when it was released and is on my to be read list.

    Regretfully, as in many cases with living authors who wish to remain in the background, there was very little information about Hughes-Hallet online when I researched her when I purchased the book. Her obituary in the Telegraph online fills in quite a bit more than we usually see for a minor author and is written with reverence and personal insight, almost like it was from a family member or personal friend. Though it answers my questions about her life and career, I am still craving more sumptuous illustrated editions and clever prose from this author. I think I am so drawn to her work and life because I admire her choices, enthusiasm, perspective and legacy. She seems to have had it all. Raised in Steventon, married with a lovely family and her final years as a respected author. Life does not get much better. R.I.P.

    My Dear Cassandra, or The Illustrated Letters of Jane Austen is one of my favorite editions in my Austen library. Please seek it out and take a gander. You will not be disappointed.

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    “A woman can never be too fine while she is all in white.” Edmund Bertram, Mansfield Park

    Who’s that beautiful lady prominently displayed on the cover of so many recent Jane Austen inspired novels? Why Frenchwoman, Jeanne-Françoise Julie Adélaïde Bernard Récamier (1777 – 1849), an icon of neoclassicism and a leader of the literary and political circles of the early 19th century. This fine portrait of her was painted in 1802 by her fellow countryman François Gérard (1770-1837) and now hangs in the Carnavalet Museum in Paris.  A second portrait of her by Jacques-Louis David became so famous that the style of sofa that she is reclining upon is still called a recamier today. You can visit both the portrait and her stylish sofa at the Louvre Museum in Paris.

    Here is a display of four recent book covers using her image from the Gérard portrait.

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    In celebration of the upcoming bicentenary decade of Jane Austen’s published works (1811-2011), a new permanent exhibit will open on April 10, 2010 at her resting place Winchester Cathedral in Winchester, England. The exhibit will reveal the renowned British author’s life and times in Hampshire and focus prominence to her grave site in the cathedral’s north aisle of the nave where she was buried on July 24th, 1817, five days after her death in Winchester at age 41.  

    The exhibition, which will document Jane’s home and social life, will be supported by a mix of permanent and rolling exhibits borrowed from collections around the world.  From 10 April until 20 September items from Winchester Cathedral’s and Winchester College’s archives will be on display.  Some of these items have rarely, if ever, been displayed publicly before and include her burial register, first editions and fragments of Jane’s own writing.

    There will also be guided tours, specific exhibitions and talks taking visitors through her life and works to mark her legacy and set the stage for Jane’s bicentenary.  Highlights include:

    • 1 May: Special Evensong to mark Jane Austen’s life, and place in the Cathedral’s history
    • 16-18 July: Jane Austen Weekend (including Regency Dinner) which coincides with the Jane Austen Society AGM
    • 5-6 August: Outside theatre production of Pride and Prejudice
    • Extended tours which take visitors beyond the Cathedral to see Jane’s final home just beyond the Cathedral Inner Close.

    “Hampshire offers Jane Austen admirers a wonderful window into her life, at her birthplace of Steventon, where she lived at Chawton and in Winchester, her final resting place. The Cathedral provides the perfect space to bring together each element of Jane’s life through the public exhibition and to give prominence to her ledgerstone, which lies quietly in the north nave aisle and often goes unnoticed. 

    “Our focus will be on Jane Austen the person, her life, family and friends.  So much of daily life during the regency period is so different to today, and we know this will reveal a totally different side to Jane Austen’s fans and followers.” Charlotte Barnaville, the Cathedral’s Marketing Officer

    Additional information on the exhibit and visiting details can be found at the Winchester Cathedral’s website and the official Visit Winchester travel website. Now Janeites, yet another reason to rationalize the expenditure of a trip to England! ;-)

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    Why would anyone want to go into freezing cold sea water? What medical benefits were they hoping to achieve?

    In Jane Austen’s novel Sanditon an entire seaside community is in development to attract visitors to a new watering place for the therapeutic or curative benefit of sea-air and sea-bathing. This involved the process of immersing yourself in freezing cold water. However unpleasant this many sound to our 21st-century sensibilities, it was strongly believed in the 18th and 19th-centuries to have strong physical benefits to a wide range of maladies. Julie at Austenonly blog has graciously investigated the 19th-century medical mindset which instigated this belief and fueled the development of the seaside resorts such as Sanditon. Please visit her great blog and discover why Mr. Parker in the novel Sanditon believes “The Sea air and Sea Bathing together were nearly infallible, one or the other of them being a match for every Disorder” and Mrs. Bennet in Pride and Prejudice thinks a little sea-bathing will set her up forever!

    Further reading

    Upcoming event posts

    Day 6 – March 20 Review: Sanditon (Hesperus)
    Day 7 – March 21 Sanditon Completions
    Day 8 – March 22 Event Wrap-up

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    Please welcome Mandy N. today as a guest blogger during ‘By the Seaside with Sanditon’. Mandy is an avid collector of vintage fashion plates and has graciously offered to share some of her lovely images and chat about Regency-era fashion that I am quite certain Mr. Parker would think quite elegant enough for Sanditon.

    During the Regency-era, seaside resorts were popular among fashionable society for both health cures and holidays. Jane Austen’s novels mention the resorts of Brighton, Scarborough, Cromer, Lyme and her fictional ‘Sandy ton’ or Sanditon. At resorts, fashionable visitors delighted in leisurely pleasures of promenading and seabathing amid sunshine and sea breezes. To partake of resort pleasures visitors required fashionable apparel to promenade, seabath, mingle and be seen by society. Seaside resorts also encouraged ladies to buy trinkets and shell ornaments at the circulating library similar to what Mr. Parker tries to establish at Sanditon. 

    The basic seaside costume was a white muslin dress comfortable for a beach stroll and to ‘take a turn on the cliff’ (Ch.6), or dress up with accessories for a promenade. My impression is between the 1809 to 1815 seasons seaside fashion evolved. Accessories such as scarves, ribbons, shawls and reticules added blue, green or yellow colour to a white dress. Bonnets and parasols in matching colours added variety to seaside Regency costumes. ‘the most stylish girls in  the place.‘  (Ch. 11)

               

    (Figure 1 left) Promenade Dress (Ackermann’s Repository 1809) shows a stylish frock for a stroll on the beach. A white muslin dress. Bonnet of plaited straw with ostrich feather, tied with ribbon. A Marine Scarf of purple silk and matching Chinese parasol of purple silk. Shoes and gloves of yellow kid. No doubt the perfect outfit to enjoy ‘the finest, purest seabreeze on the coast’ (Ch. 1) 

    (Figure 2 right) Promenade or Sea Beach Costume (Ackerman’s Repository 1810). Take a turn around the cliff in natural surroundings near the resort in white muslin under an apple-green crape tunic coat with straw bonnet tied with ribbon. Chinese green silk parasol and green kid slippers. A versatile outfit to wear round the resort. 

    (Figure 3) A sight to please Mr. Parker is the sight of a most fashionable young woman who knew to sit upon the seashore to enjoy sunshine and a breeze. Promenade Dress (Ackermann’s Repository 1815). A stripey pelisse with a full neck ruff and silk shawl over the shoulders. Fabric-covered bonnet with flowers. Her strapped slippers allow easier walking on a sandy shore. This Promenade Dress was fashionable in cool months. Regency society enjoyed visiting seaside resorts all year round. (Thanks Heather, for your elegant 1815 Promenade Dress)

     

    (Figure 4)  Morning Dress (Ackermann’s Repository 1814). A lady sits on the beach looking out to sea.  Her robe is evening-primrose-coloured sarsanet with blonde lace. French hat of ribbons and flowers. A darker dress may not show dust or sand so much as a white dress. Fashion terms like evening primrose may’ve appealed to stylish ladies. This Morning Walking Dress has the addition of a telescope. Telescope gazing was a popular leisure with men and women at sea resorts. Like the Miss Beauforts, perhaps she- ‘looks at nothing through a telescope.‘ (Ch. 11)

             

    (Figure 5 left) Walking Dress (Ackermann’s Repository 1811).  Muslin robe with a fuller sleeve and a square neckerchief in folds. Amber sarsenet coat. A mountain hat with flower, oranmented with white crape (her hair folds beneath the white crape). Half-boots of buff kid and a crimson reticule. This outfit for a seaside stroll appears more sophisticated than dresses of 1809-1810 seasons. Personally, I love the background and beach activity in this costume plate! 

    (Figure 6 right) Walking Dress (Ackermann’s Repository 1815). Exemplifies a costume worn by the seashore at time of Sanditon. A high muslin dress of short waking length trimmed with treble flounces and full ruff of French style. Long sleeve with wristband over the hand. French bonnet of white satin edged with blue ribbon and a plume of feathers. Mantle of silk embroidered with silks. Silk stockings, gloves and slippers of blue kid. Blue shoes? Civilization indeed!  ‘Who would have expected such a sight at a shoemaker’s in old Sanditon!’ (Ch. 4)  But did she buy her large, large bonnet from Jebbs? 

             

    (Figure 7 left) Promenade Half Full Dress (La Belle Assemblee 1810). An ensemble fit for an heiress to stroll upon the Terrace. A muslin dress with long sleeves and low neck. French scarf of yellow silk. Note the lace veil on the yellow silk bonnet to protect a lady’s complexion, or, if she is ill protection from unwanted public gaze upon the Terrace. Parasol of light yellow & white fringe. Gloves and shoes of yellow kid.  Likely, such fashion was seen at large, fashionable resorts. ‘the Terrace was the attraction to all; everybody who walked, must begin with the Terrace.’ (Ch. 7) 

    (Figure 8 right) Promenade Costume (Ackermann’s Repository 1812). A muslin robe with long sleeves, simple collar and brooch. Amber sash, rosary and cross necklace. Gloves and shoes of yellow kid. Her hat is trimmed with white ribbons. I wonder if she reads a book of poetry? ‘Upon the Terrace with the Parkers and Denhams, sat Clara Brereton.’ She is known to wear white ribbons.

    (Figure 9) ‘Two females in elegant white.’ (Ch. 4) Promenade or Sea Beach Costumes (Ackermann’s Repository 1810). First figure: White muslin gown, a tunic of pink sarsanet with cording up front. Straw hat tied with white ribbon. A founding lace cap with flowers. Muslin cloak and head-dress of square veil of French lace. Gloves and pink slippers. Second figure: A white muslin robe and cloak of fine muslin. Headdress with a square veil of lace accented with a brooch. Gloves and amber slippers. Lace veils probably protected a lady’s face from sun and wind on the beach. The outfits appear loose and comfortable for around the resort wear. ‘The sea air and sea bathing together were nearly infallible’ (Ch. 2)

    (Figure 10) Sea Bathing Costume (La Belle Assemblee 1815). A pelisse of green-white silk with fringes. Leghorn hat with feathers. Green and white striped half boots. At seaside resorts, ladies could parade in style enjoying the purest seabreeze by the dancing sea. Yet, promenading was not the only leisure. Sea resorts were famed by society for the novelty of sea cures and seabathing. ‘Here began the descent to the beach, and to the bathing machines-and this was therefore the favourite spot for beauty and fashion.’ (Ch. 4) This fashion plate features a lady strolling in seabathing costume to the beach in to the seabathing machines to change and enter the water in privacy. Seabathing machines can be seen on the lower right side of the fashion plate. The advantage of this costume was a lady could quickly dress or undress. Does she carry a muslin slip in her bag? The most fastidious belle could not find a more becoming Bathing Costume. I wonder if this lady bathes for leisure or sea cure? In the novel, active hypochondriac Diana Parker appears a regular seabather, so presumably owns a Bathing Costume. She intends ‘to enourage Miss Lambe in taking her first dip…and go in the machine with her if he wishes it.‘ (Ch. 12)  

    In the Regency-era seabathing was the motive to improve one’s health, but socializing and fashion appear as important as any sea cure. As we see in these fashion plates from the Ladies Journals of the era, it is apparent that they catered to the novelty of fashion by the sea. To realistically display Walking Dresses or a Sea Bathing Costumes, beach or cliff scenes were popular as background on fashion plates. To a fashionable lady, the picture may convey not only the infallible delights of finery but the delight of visiting a resort for ‘the sea, dancing and sparkling in sunshine and freshness.’ (Ch. 4)

    For people not yet drowned by seaside images, you can check the wallpaper gallery at Solitary Elegance. The August wallpaper features two Regency seaside mother & child plates and a quote from Sanditon for your enjoyment.

    Many thanks to Mandy N. for all her work scanning images and researching the text. Bravo!

    Further reading

    Upcoming event posts

    Day 6 – March 20 Group Read Chapters 9-12
    Day 6 – March 20 Review: Sanditon (Hesperus)
    Day 7 – March 21 Sanditon Completions
    Day 8 – March 22 Event Wrap-up

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    Eastbourne vs. Worthing? As we continue to explore Jane Austen’s last unfinished novel Sanditon it is interesting to ponder what Jane Austen used to model her emerging seaside resort of Mr. Parker’s creation. Julie at Austenonly presents a strong argument for the resort for Worthing in Sussex, also an emerging seaside resort in the early 1800’s that Austen visited with her family.

    “There has been much speculation about Jane Austen’s inspiration for the town of Sanditon: was the place completely  imaginary or did she base it on a resort with which she was familiar? Eastbourne in Sussex has been mooted as a candidate, though as far as I am aware, Jane Austen is not recorded as ever having visited that town.

    But she is recorded as having visited Worthing, another Sussex resort, and this definitely has possibilities for being her template for the developing resort of Sanditon.”

    Visit Austenonly, Julie’s excellent blog to discover the evidence in support of her theory and decide for yourself. 

    Upcoming event posts

    Day 6 – March 20 Group Read Chapters 9-12
    Day 6 – March 20 Review: Sanditon (Hesperus)
    Day 7 – March 21 Sanditon Completions
    Day 8 – March 22 Events Wrap-up

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