A Jane Austen Education Read Online Free PDF Page A

leave—with breathless interest.
    Her neighbors were scarcely less colorful. The cast of characters included “military heroes, bastard sprigs of the aristocracy, ruined squires,” and “brilliant factory-owners of foreign origin,” as Austen biographer Claire Tomalin enumerates them. One, Lord Portsmouth, was a feebleminded aristocrat with a macabre taste for funerals and slaughterhouses. After his first wife died, he was swindled into marrying his lawyer’s daughter (Lord Byron was a witness, though he seemed unaware of what was going on), who proceeded to dismiss the servants and tyrannize her husband with regular whippings and beatings—gothic stuff indeed.
     
     
    Tales of India and France, high-seas adventure and high-society scandal—godsends, it would seem, for any novelist in search of material. Yet Austen turned them all aside with a polite smile. Rather than Warren Hastings and Elizabeth Capot de Feuillide, she preferred to write about people like Mr. Woodhouse and Harriet Smith. Instead of Napoleonic battles and clandestine torture, she chose the dramatic possibilities of card parties and country picnics. She knew what she was about, and refused all temptations to wander from her course. After Emma was dedicated, at his own invitation, to the prince regent—Great Britain’s acting monarch during the senility of his father, George III—Austen heard again from the prince’s librarian, a pompous clergyman named James Stanier Clarke, who had been serving as the regent’s intermediary. (The prince did not of course deal with Austen himself, even if she was one of his favorite writers.) Clarke took the liberty of inflicting upon her that common torment of successful authors: he gave her an idea for a book. “Any Historical Romance illustrative of the History of the august house of Cobourg,” the German noble family whose youngest son was about to marry the Prince’s daughter, “would just now be very interesting,” he helpfully explained.
    but . . . I could not sit seriously down to write a serious Romance under any other motive than to save my Life, & if it were indispensable for me to keep it up & never relax into laughing at myself or other people, I am sure I should be hung before I had finished the first Chapter.—No—I must keep to my own style & go on in my own Way.
    “I am fully sensible that an Historical Romance . . . might be much more to the purpose of Profit or Popularity, than such pictures of domestic Life in Country Villages as I deal in,” Austen replied (“romance” here meaning something like “saga”)—Her own way was to make art out of the very things that absorbed her attention in her own life. No one was closer to her than her older sister, Cassandra, with whom she shared a room until the end of her life. The two exchanged hundreds of letters during their periods of separation, filled with exactly the kind of gossipy detail that Austen shaped so gloriously into her novels:
    Martha & I dined yesterday at Deane to meet the Powletts & Tom Chute. . . . Mrs. Powlett was at once expensively & nakedly dress’d;—we have had the satis faction of estimating her Lace and her Muslin [in other words, guessing how much they cost] ; & she said too little to afford us much other amusement.—Mrs. John Lyford is so much pleased with the state of widowhood as to be going to put in for being a widow again;—she is to marry a Mr. Fendall, . . . a man of very good fortune, but considerably older than herself.
     
    You will not expect to hear that I was asked to dance—but I was—by the Gentleman whom we met that Sunday with Capt. D’auvergne. We have always kept up a Bowing acquaintance since, & being pleased with his black eyes, I spoke to him at the Ball, which brought on me this civility; but I do not know his name,—& he seems so little at home in the English Language that I beleive his black eyes may be the best of him.
     
    The Tables are come, & give general contentment. . . .