“What I want to examine in this study is how the poet Wordsworth and the novelist Austen represent a marriage of interests, an economy of literary sympathies, and a shared thematic melody that plays across their often-disparate works” (Dabundo, 9).
Laura Dabundo joins a number of scholars who have begun to show great interest in examining the works of Jane Austen in light of her Christian faith. One thinks of Laura Mooneyham White’s Jane Austen’s Anglicanism (2011), Peter Leithart’s Miniatures and Morals: The Christian Novels of Jane Austen (2004), Michael Giffin’s Jane Austen and Religion (2002), and Irene Collins’ Jane Austen and the Clergy (1993), not to mention more devotional and reflective works like Steffany Woolsey’s A Jane Austen Devotional(2012) and William Deresiewicz’s A Jane Austen Education (2012). It seems the trendy intellectual bias against discussing religion is giving way to a greater emphasis on appreciating the complete context of beloved and respected authors like Austen. This is particularly important in Austen’s case because, as Dabundo states from the very start: “The deeply rooted significance of church and faith creates the rich earth out of which characters develop, her plots blossom, and her themes flower. It was her reality; it is the reality of her art” (1). To ignore Austen’s Anglican faith and spirituality, therefore, is to only half-read her novels and so to potentially mistake her intention entirely.
Given the many works listed above and the many others not mentioned, Dabundo has to create a niche for her discussion of Austen’s Christian faith. For this, she incorporates a comparison with William Wordsworth, the great Romantic poet and contemporary of Austen. But what do these two literary giants have in common? Simply put, a faith in Anglican Christianity as the saving “glue” of British society, for both believed that in Anglicanism the British people found the harmonious marriage of nationalism and Christian morals—a marriage that gave birth to the ideal community. Indeed, this community is not only the source of obligation (duty to others), but also the deeper motivation for the individual’s being (inspiration) (64). Dabundo unpacks this interesting claim over several chapters, but she does so by examining the two artists’ works separately. While I understand her reasons for doing so, I found the four Wordsworth chapters to be of less interest to me than the three Austen chapters, mainly due to my own unfamiliarity with the poetry being discussed and my greater interest in the novels. As such, I will restrict my comments to the book’s latter chapters, perhaps to the chagrin of the author and Wordsworth devotees. Continue reading