My copy of this must-have book for the fashionable lady in 1831 is conveniently pocket-sized and comprises 244 pages of short stories, poems, articles on famous women, dozens of ‘preceptive distichs’, fashion advice and twenty-seven illustrations, including some ravishing hand-coloured fashion plates. Unfortunately, a number of the plates have been torn out. Still, enough remain to give a good idea of what The Ladies’ Pocket Magazine would have looked like.
In this post, I’m looking at how travel, for Jane Austen heroines, always indicates change of some sort. Take Northanger Abbey. Our heroine, the seventeen-year-old Catherine Morland, is travelling to Bath with Mr and Mrs Allen. Catherine, who lives almost entirely inside her head with the Gothic romances she so loves, hopes for Adventure, with a capital A. But, as Jane Austen tells us, the journey ‘was performed with suitable quietness and uneventful safety. Neither robbers nor tempests befriended them, nor one lucky overturn to introduce them to the hero.’
Three villains in horsemen’s greatcoats
There may not be a Gothic villain ready to abduct her, but the journey, nevertheless, signifies an important change. The Allens are not Catherine’s parents, and Mrs Allen proves to be a careless chaperone. She sees nothing wrong with Catherine becoming best friends with the flighty Isabella Thorpe, daughter of her old friend Mrs Thorpe, nor of Catherine driving out alone with that boastful rattle, John Thorpe.
General Tilney is surely one of the most unpleasant characters Jane Austen ever created. He’s greedy, hypocritical and a bully. But it is through him that Jane Austen’s naïve eighteen-year-old heroine, Catherine Morland, learns a number of important lessons about human nature.
When Catherine first sees him in the Assembly Rooms she is standing beside Henry Tilney – a man she has recently met and finds very attractive. She notices that she is being ‘earnestly regarded by a gentleman…immediately behind her. He was a very handsome man, of a commanding aspect, past the bloom, but not past the vigour, of life.’ He learns forward and whispers something to Mr Tilney.
I’ve always loved the novels of Georgette Heyer for their wit, well-researched period detail, terrific story-telling and escapist fun. And I am not alone. When, in June 2015, I attended the Blue Plaque ceremony at 103 Woodside, Wimbledon, where she was born, Stephen Fry, a great fan, did the honours, opened the red curtains to reveal the plaque and spoke enthusiastically of Georgette Heyer’s stylish and witty novels. He’d discovered them at school and has loved them ever since; he finds them great comfort reading if ever he’s under the weather.
Georgette Heyer by Howard Coster, 1939, National Portrait Gallery
Mary Crawford’s harp is more than just a fashionable early 19th century musical instrument, it has a number of important jobs to do in the unfolding of the Mansfield Park plot, not least in allowing the readers to see Mary’s character for themselves.
Young Lady Playing the Harp by James Northcote, 1816
In this post, I want to look at the curious fact that none of Jane Austen’s heroines (whose ages range between seventeen and twenty-seven) or her heroes (whose ages range from about twenty-four to thirty-seven) have living grandparents. Indeed, that older generation of, say, sixty plus, seems to be missing. Can this be true? And, if so, what difference does it make? To answer these questions, we need a bit of background information about life expectancy in the early 19th century. Edwin Chadwick’s ground-breaking 1842 survey on public health, tells us that the life expectancy of a member of the gentry or professional class in Rutland (chosen as a typical rural location) was fifty-two; and for an artisan or labourer, it was thirty-eight. There are, of course, a number of factors to be taken into account: infant mortality rates, for example, but for the purpose of this post, I’m staying with the basic facts, as near as we can get them.
The only young lady in Jane Austen’s novels with a living grandparent is Jane Fairfax in Emma who has the aged Mrs Bates, ‘a very old lady, almost past everything but tea and quadrille.’ I’ll be looking at how old Mrs Bates actually is later.
A week or so ago, I was invited to the preview of the V & A’s terrific new exhibition Undressed: A Brief History of Underwear. Lucky me, I thought, at last I shall be able to see exactly what a Regency Buck wore underneath his skin-tight pantaloons and superbly-tailored coat.
Brass bra and harem pants, 1970
Fortunately, the hunky cameramen wielding tripods and cameras were more transfixed by the 1970s brass bra and harem pants, not to mention the sexy silk satin and lace negligée as worn by Bérénice Marlohe, the femme fatale Bond girl in Skyfall, than by the Regency male underwear on display. The woman standing next to me raised her eyes to the ceiling and muttered, ‘Typical!’ So I was able to study the Regency Buck undressed in peace.