Jane Austen and the Clergy: How the System Worked

 In the 21st century, Church of England clergy are hard-working men and women – usually running a number of parishes, as well as struggling to pay for the upkeep of churches which may be in need of serious repair. They are expected to have several services on Sundays, possibly in different parishes, and to see to the spiritual needs – and often the material needs, if the parish is a poor one, of their parishioners. They are also pretty poorly paid.  Still, at least they can count on a roof over their heads and the job carries a pension and the security of knowing that they will have somewhere to live once they retire.

Henry Tilney at Woodston, Northanger Abbey

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Jane Austen: Emotion in the Shrubbery

In the early 19th century, every house of consequence had a shrubbery. Sometimes it was a simple grassy area with shrubs and a few trees; sometimes there was an attractive bench beside a winding gravel path where a young lady could sit and enjoy nature; and it could be as large or small as the owner wanted. In essence, it was the antithesis of the more formal parterres, geometrical shapes and clipped box hedges at the front of the house which proclaimed the owner’s status and control over Nature.

Formal gardens proclaimed the owner’s status

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Jane Austen: ‘Emma’ and Class

Re-reading Emma recently, it struck me that, far more than Jane Austen’s other novels, it is permeated by a sort of unease about class. On the surface, it’s a socially stable society with the Woodhouses at Hartfield and Mr Knightley at Donwell Abbey at the apex. Their wealth and status has obviously been established for many generations – that socially damning word ‘trade’ is no part of their financial inheritance. It is the heroine, Emma Woodhouse, who is the most conscious of social class and she believes that she knows to a T where everyone fits into the class structure. It is Emma who is the most unforgiving about people wanting to climb above their ‘proper’  – as she sees it – place.

after Cassandra Austen, stipple engraving, published 1870 courtesy of the National Portrait Gallery.

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Jane Austen’s Choice of Surnames

I’m sure I’m not just speaking for myself when I say that novelists choose the surnames of their characters with great care. I certainly agonise over mine. I was reminded of this when reading Maggie Lane’s brilliant Jane Austen and Food. In it, she makes the perceptive point that Mrs Norris in Mansfield Park is ironically named – from the French nourrice, a nurse. She behaves in the most un-nurturing way towards Fanny Price and seems to take every opportunity to put her down.

‘My dear Sir Thomas, Fanny can walk.’ says Mrs Norris. Illustration by Hugh Thomson for Mansfield Park

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Jane Austen: What’s in a Name?

I have long been fascinated by Jane Austen’s choice of first names for her characters, and today I’m looking at how the early 19th naming system worked. The 1800 name pool was, by modern standards, surprisingly small, and this is echoed in Jane Austen’s constant reuse of the same names. Take the name Mary; there are two Marys in Pride & Prejudice (Mary Bennet and the heiress Mary King, pursued by Wickham); a Mary Crawford in Mansfield Park; and Mary Musgrove in Persuasion. According to research done by The Names Society, Mary was the most common girl’s name in 1800, closely followed by Anne and Elizabeth, so perhaps we should not be surprised. Jane Austen even calls two major characters by her own Christian name, Jane, which comes in at number 5 in the 1800 list. There is Jane Bennet in Pride & Prejudice and Jane Fairfax in Emma.

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Jane Austen’s Writing Master Class

Jane Austen’s niece, Anna Austen Lefroy (1793-1872) was, as far as we know, her only relation who was also a novelist – though, in her case, an aspiring one. When she was nineteen, Anna asked her aunt various questions regarding her own novel Which is the Heroine? For example: does Dawlish have a decent library? Jane’s answer was that it was ‘pitiful and wretched’. What I found interesting was that Jane understood her niece’s concern to get things right. Both wrote contemporary novels and they both knew that accuracy was important.

 

Jane Austen, after Cassandra Austen, stipple engraving, published 1870, National Portrait Gallery

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Jane Austen: The Power of Money

I have been struck by the number of wealthy older women in Jane Austen’s novels who exercise stringent financial control over various young male relations.

The importance of money: 19th century reticule

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Jane Austen and the Missing Grandparents

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.

after Cassandra Austen, stipple engraving, published 1870
after Cassandra Austen, stipple engraving, published 1870

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.

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