Matters of Fact in Jane Austen: History, Location, and Celebrity, by Janine Barchas – A Review

Matters of Fact in Jane Austen, by Janine Barchas (2012)From the desk of Br. Paul Byrd, OP

“I aim to resituate her work nearer to the stout historical novels of her contemporary Sir Walter Scott, or even the encyclopedic reach of modernist James Joyce, than to the narrow domestic and biographical readings that still characterize much of Austen studies” (Barchas, 1).

In Matters of Fact in Jane Austen, Janine Barchas sets out to illuminate Austen’s works by performing a type of literary archeological dig on them, sifting through details that often go unremarked to show how rich in facts the novels actually are. In so doing, she hopes to reveal that Austen is an even craftier and more skillful artist than most give her credit for being. The comparison to Scott quoted above, for example, is carefully chosen since Austen weaves much more English history into her novels than is often appreciated. And like Joyce, there is reason to believe that she “mapped” out her stories, taking care not just for accuracy’s sake, but for the sake of the joke she’s setting up for the knowing reader. Since Barchas’ task is a rather grand one, she limits her scope to Northanger Abbey, Sense and Sensibility, and Persuasion, with treatment of shorter works like Lady Susan and Evelyn, as well.  This means she all but leaves out three of Austen’s most celebrated works—Pride and Prejudice, Emma, and Mansfield Park—but she admits that her goal was to begin a project, not to complete it.

One basic starting point for Matters of Fact is to show that much of Austen’s ideas for character names came from either dramatic skeletons in the closets of noble families connected with her own or the celebrity scandals hitting the front page of the newspapers of her day, be it the Wentworth/Vernon family dispute over ownership of a castle (echoed in Lady Susan), the doomed romances of Lady Mary Anne Dashwood (reimagined in Sense and Sensibility), or the death of the name of the generous Croft family (gently alluded to in Persuasion). Indeed, given Barchas’ wide survey of Austen’s Regency context throughout the book, I suspect there is something here for every Austen fan, whether scholar or simply voracious reader. Those underwhelmed by the tame chapter on the celebrated landscaper, Mr. Evelyn, may be delighted by the shocking chapter on the rather perverse real-life Dashwoods of West Wycombe and the pious Catholic Ferrers family with which they are juxtaposed.

My own two favorite chapters were those that examined Northanger Abbey. In the first, Barchas examines Austen’s use of the surname “Allen” for the guardians of the heroine. For “Ralph Allen, postal entrepreneur, philanthropist, former mayor, stone mogul, and builder of Prior Park, with its renowned landscape garden, had arguably been Bath’s most famous historical personage” (57). While this may seem like a mere bit of trivia, it becomes key to the novel’s irony if one buys into Barchas’ argument that much of General Tilney’s excitement over Catherine and her prospective wealth comes from the association of Mr. and Mrs. Allen of Fullerton with the celebrated Allens of Bath (59). Indeed, Barchas shows that the scene in which Catherine rides out with John Thorpe revolves around the real Mr. Allen, for the change in destination from Landsdown Hill to Claverton Down would have, in real-life, led “them straight to the gates of [Ralph Allen’s] Prior Park”, and believing so “It is in direct sight of the Prior Park gates that Thorpe first speaks about ‘Old Allen’ and his money” (67-68).

In the second chapter on Northanger Abbey, Barchas moves on to explore how Catherine’s  perceived dangers at the Tilney estate are far from being mere farce. After all, there was a real castle the same distance from Bath built from the ruins of a former Catholic abbey that had its history of unhappy marriages and murdered spouses. Indeed, “Given the popularity of Farleigh Hungerford Castle as a tourist site near Bath, Austen likely visited the ruined castle in person” (94). Even Austen’s mention of modern stoves may be a dark reference to the stoves at Farleigh Castle that were used to cover up a murder (101). Thus, while readers may want to scold Catherine right along with Henry for some of her wild conjectures, the joke is actually supposed to be on Henry, for true knowledge of English history makes it very clear that the kind of diabolic behavior Catherine imagines  happened at Northanger Abbey was no more foreign to Protestant  England (as Henry argues it was) than it was to Catholic Spain or France or Italy (103).  These details  serve to support Barchas’ theory that “Rather than a botched fusion of disparate styles, Northanger Abbey, is a one-two punch at the use of history, near and far, in the modern novel” (93-94). In this way, she does much to redeem the novel’s underrated sophistication.

Unfortunately, despite Barchas’ impressive scholarship and excellent writing style, I found myself asking that nagging question at the book’s end: So what? The people and places she mentions, though important in Georgian England and of interest to Austen, have mostly been forgotten by popular history, and for good reason. To argue otherwise would be like our expecting in another two-hundred years that people will care who Honey Boo Boo or Donald Trump were, or that they will be enthralled by the insipid family scandals of the Real Housewives of New Jersey. On the contrary, the best a tabloid tidbit is worth is its five minutes of fame. Accordingly, much of the facts underlying Austen’s works that Barchas brings to light, whether the Wikipedia-worthy items or the “juicier” bits about murders and sex clubs, are doomed to be much less impressive than Austen’s artistic use of them. But then Barchas might not argue with me on that. After all, she only sought to illustrate that there was something tangible beneath what I might otherwise have assumed was pure creative genius. And that she did.

4 out of 5 Stars

Matters of Fact in Jane Austen: History, Location, and Celebrity, by Janine Barchas
Johns Hopkins University Press (2012)
Hardcover (336) pages
ISBN: 978-1421406404

© 2013 Br. Paul Byrd, OP, Austenprose

15 thoughts on “Matters of Fact in Jane Austen: History, Location, and Celebrity, by Janine Barchas – A Review

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  1. I’d like to read this one, definitely my cup of tea (although I already knew all the examples cited!). However, have you seen the price! $45 for hardcover. OK, I know university press books are expensive – but $26.50 for the KINDLE edition? (Faints)


  2. Can I take the class that uses this textbook? I would think that would be a great way to speed an afternoon or two a week!


  3. Sounds like a fun book to read–I enjoyed your review of it. With regards to the “so what” factor, the more I read about Austen and how she worked, the more her works seem inside jokes for her family and friends. I’ve always felt that one of the keys to Austen’s perennial popularity is that the reader doesn’t need to know much about Regency England to enjoy them (e.g., me at 13), but the more you know about the world in which Austen lived, the more you can appreciate and “get” the fictional worlds she created.

    Liked by 1 person

  4. What even insightful and deep-digging academic scholars like Barchas don’t get is that the kinds of historical allusive sources which she detects beneath the surface of Jane Austen’s novels are one category (along with many other important categories of allusive sources) are extremely important as clues to illuminating what I call the “shadow stories” of her novels:

    If these weren’t clues to an alternative parallel fictional universe within the novel, then it would be a sort of in-joke, parlor game on Jane Austen’s part. But I will demonstrate all this “cluefulness” in due course by showing exactly how these veiled allusions act as “flashlights” pointing into the shadows of her novels, revealing the character and actions of the characters in that alternative reality.

    It sounds like sci-fi, but it is what Jane Austen did!


    Liked by 1 person

  5. In other words, as thorough, detailed and excellent as Barchas’s literary histori-archaeology clearly is—she is first rate at what she does—it is really only scratching the surface of one of many areas within the “dig” which is a Jane Austen novel!


  6. This first volume (hopefully) by Barchas sounds interesting and coincides with beliefs I have long held about Austen. Based on my finances, It is something I will have to check out from the library. The bit about the Dashwood and Ferrars families sounds fascinating. I wish she had delved into ‘Pride and Prejudice.’ I have long held a belief, and my latest novel utilizes the premise that the youngest Miss Bennet was inspired by Richard Sheridan’s portrayal of Lydia Languish in ‘The Rivals.’ I will be interested to see whether Austen’s knowledge and interest in her literary precursors and contemporaries is explored in ‘Matters of Fact in Jane Austen.’


  7. Beth, Jane Austen’s shadow stories are no more “paranormal” than Will Shortz’s NY Times crossword puzzles. The “Jane Austen Code”, as I have articulated it, is a coordinated system of clues generated primarily via wordplay, ambiguous narration, and literary, personal and historical allusion (the last, like Barchas describes in her book) which collectively inform the sleuthing reader as to what happens in the shadow story, There’s no numerology or other silly hocus pocus, just very clever double-story construction, and all done in this fashion in order to present Jane Austen’s deep and passionate feminism, most of all relating to the female body.

    And, yes, of course Lydia Languish is one literary allusive source behind Pride & Prejudice, along with another HUNDRED such veiled allusions covertly inserted in the novel.

    Cheers, ARNIE


  8. Beth & Arnie, I rarely interfere with discussion here, but I have edited parts of your comments to remove the self promotion and links. This review is about Ms. Barchas’ book and it should remain so. While I value both of you as Austen enthusiasts, I ask out of respect for the author being reviewed that you use another venue to promote your works and projects.


  9. An excellent and enlightening review indeed. I guess the gist of the conversation is that Jane Austen’s greatness and genius can be attributed to her two centuries of incredible “hang time” which seems to be growing daily. The book is in the ‘nosebleed’ territory on price for me so I will probably have to wait for it to show up on the shelves of our many public libraries.


  10. I like your take-away about the book, but perhaps I find more value in historical trivia. Seems to be a theme in Austen criticism these days. Paula Byrne’s The Real Jane Austen seems to discuss something similar by delving into the minutiae of Austen’s works.


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