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Inquiring reader: The city of Bath is a topic that guest writer Paul Emanuelli, author of Avon Street, knows well, having immersed himself in Bath’s history and environs for his novel. For this article he examines Jane’s life in Bath and how the city must have looked and felt to her in the years that she lived there. Enjoy.

Jane Austen’s Pride and Prejudice opens with the sentence, “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” It is one of the best written and best known opening lines of any novel. It is also one of the best examples of “comic irony” because, as Austen makes clear throughout the novel, it is primarily the women (or more particularly their mothers) who are desperately in search of a rich single man as husband-material.

Historically Bath was undoubtedly one of the most favoured locations for such husband hunting, both in fact and in fiction. Though the city is relatively small today, it had grown faster than almost any other in Britain during the 17th Century. In 1801, when Jane moved to the city it was the ninth largest conurbation in England with a population of 35,000. Its spa facilities and entertainments were renowned throughout Europe and visitors flocked to the city for “The Season” (roughly from the beginning of May to mid-September). This was the time for match-making.

Rowlandson, The Comforts of Bath, The Bath. Wikimedia image.

Rowlandson, The Comforts of Bath, The Bath. Wikimedia image.

There were balls and gatherings, concerts and card games in the Upper and Lower Assembly Rooms. Each day people met in The Pump Rooms to see who was newly arrived in the city, to make introductions (and to be introduced) and perhaps most importantly to exchange gossip, and arrange social events. The theatre too, was well attended with a continually changing programme of popular contemporary productions, drawing some of the finest actors and performers of the age.

Rowlandson, The Comforts of Bath, The Pump Room. Wikimedia image.

Rowlandson, The Comforts of Bath, The Pump Room. Wikimedia image.

People also entertained at home, and yet one of the most favoured social events (weather permitting) was simply “promenading” in the popular shopping areas like Milsom Street, or the many purpose-built, Parades and Parks, like Jane’s favourite, Sydney Gardens. These were the places to see and be seen, the places where accidental meetings might be expected, or could be contrived. As Catherine Morland remarks in Northanger Abbey - “a fine Sunday in Bath empties every house of its inhabitants, and all the world appears on such an occasion to walk about and tell their acquaintance what a charming day it is.”

Rowlandson, The Comforts of Bath, The Ball. Wikimedia image.

Rowlandson, The Comforts of Bath, The Ball. Wikimedia image.

It would be easy to be swept away by images of “beautiful people” in a social whirl of high society events, set against a back-drop of some of the finest Georgian architecture in the world. Indeed that is the world that Jane Austen seems to present in her novels, yet that was not the whole truth, at least for Jane. The notorious British weather certainly often made promenading, or even attending events or visiting friends, difficult. As Jane said in a letter to her sister, Cassandra,

“We stopped in Paragon (a prestigious address where her wealthy uncle lived) as we came along, but it was too wet and dirty for us to get out.”

Rowlandson, The Comforts of Bath, Gouty person fall on steep hill. Wikimedia image.

Rowlandson, The Comforts of Bath, Gouty persons fall on a steep hill. Wikimedia image.

It must also be remembered that Jane lived in Bath continuously (throughout the years) from 1801 to 1805, and the city was a very different place, out of season. Being primarily a Spa, many of the resident population of Bath were of retirement age and not always in the best of health. As for eligible young men, only 39% of Bath’s population were male in 1801, and it is safe to assume that relatively few of these were eligible, and that even fewer were young. As Sir Walter Elliot observes in Persuasion –

“There certainly were a dreadful multitude of ugly women in Bath; and as for the men! they were infinitely worse. Such scarecrows as the streets were full of! It was evident how little the women were used to the sight of anything tolerable, by the effect which a man of decent appearance produced.”

Rowlanson, The Comforts of Bath, The Breakfast. Wikimedia image.

Rowlanson, The Comforts of Bath, The Breakfast. Wikimedia image.

Many of the eligible young men were of course in the army or navy and away fighting the Napoleonic Wars for much of the time that Jane was living in Bath. And while officers in the services were expected to be at least literate, they came from vary varied educational and social backgrounds. Contrary to popular opinion, although an officer was supposed also to be a “gentleman”, this usually referred to an expectation rather than a predisposition. And often officers fell short of those expectations, which perhaps accounts for Jane’s portrayal of characters like George Wickham, the ne’er-do-well seducer in Pride and Prejudice.

Rowlandson, The Comforts of Bath, Coaches arriving. Wikimedia image.

Rowlandson, The Comforts of Bath, Coaches arriving. Wikimedia image.

I’m sure there were lots of George Wickhams in Bath. It was, and still is, the perfect setting for a novel. It was a place where, given enough money or access to credit, all the trappings of wealth and position could be rented or hired or borrowed for The Season, and where people were often not who they appeared to be. As Jane observed in Persuasion.

“Sir Walter had at first thought more of London; but Mr Shepherd felt that he could not be trusted in London, and had been skillful enough to dissuade him from it, and make Bath preferred. It was a much safer place for a gentleman in his predicament: he might there be important at comparatively little expense.”

Company at Play, Rowlandson, The Comforts of Bath

Rowlandson, The Comforts of Bath, Company at Play

Very few of Jane’s letters survive from her time in Bath and some say that she wrote very little while she was there. Yet it’s well known that Jane was a consummate editor, writing and re-writing, polishing and refining her work until she was satisfied it was good enough. She may well have been working on drafts of her later novels even then. She was certainly observing and remembering what she saw.

Rowlandson, The Comforts of Bath. Private practice previous to the ball. Wikimedia image.

Rowlandson, The Comforts of Bath. Private practice previous to the ball. Wikimedia image.

We do know that Jane wrote the beginning of her unfinished novel, “The Watsons” while in Bath. Some say it remained unfinished because it was a time of upheaval in her life (with the death of her father). Others believe it so clearly mirrored her own experience (particularly the financial precariousness of the family) at the time that she found it too painful to continue. And perhaps the chapters that she did complete lack some of the refinement and polish of her later novels, yet I find them very poignant and touching. I can’t help thinking that someone of Jane’s intelligence and sensitivity must at times have been hurt by a Society where people were judged so much in terms of title, wealth and appearance; as opposed to their true nature and accomplishments. Perhaps it’s little wonder then that Jane Austen makes such good use of comic irony.

Paul Emanuelli holds up his novel, Avon Street

Paul Emanuelli holds up his novel, Avon Street

Find more information about Paul Emanuelli and Avon Street on his blog, unpublishedwriter, where you will find a thoughtful discussion on the demise of book stores, and his Twitter account. Click on image to find his book.

Paperback: 320 pages
Publisher: The History Press (March 28, 2012)
ISBN-10: 0752465546
ISBN-13: 978-0752465548

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Reblogged from Austenprose - A Jane Austen Blog:

Just in case you were interested to know how much your first editions of Jane Austen's works were worth, this video featuring Adam Douglas, Senior Specialist in Early Literature at Peter Harrington, a rare book dealer in London, introduces a selection of Jane Austen’s first editions and explains how bindings affect value.

We just love how he handles the books.

Read more… 42 more words

Nice, informative video about book binding, although I have a minor disagreement with the statement about a book not being important enough to mention the name of an author. Jane Austen's early editions were by a lady because a gentlewoman simply did not publicly admit to earning a living as a novelist,

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The REAL Jane Austen_Byrne

Musings from a blogger:

I meant to write a review of The Real Jane Austen: A Life in Small Things by Paula Byrne in February shortly after the book came out, but life intervened – life in the form of visitors, a busy schedule at work and move to new offices, a bum knee that required an operation and recuperation, and the book itself, which – several pages into it – urged me to read it to the last before recommending it (or not) to others. I carried the book every day to work hoping to complete it during lunch, but my best laid plans were inevitably derailed.

In addition to this blog and my interest in Jane Austen and the world she lived in, I have been reading other authors: Virginia Woolf, F. Scott Fitzgerald and Georgette Heyer, to name a few. David Stockman’s The Great Deformation, a great big bear of a book that holds economic insights that will chill the confidence of avid savers like myself, is my most recent acquisition. And then there’s Netflix. I admit to being a serial viewer of series that I missed seeing: The West Wing, for example, The Walking Dead, and now 30 Rock. Warmer weather now pulls me to spring gardening and walking in the great outdoors.

The real life of Vic Sanborn has been getting in the way of her quest to know more about the real Jane Austen, which is why this blog’s entries have been so spare of late and why I took so long to finish Paula Byrne’s book. Not that I didn’t enjoy it. This image of my copy of The Real Jane Austen will tell you all.

My well thumbed copy of The Real Jane Austen

My well thumbed copy of The Real Jane Austen

One would think that as a devoted Janeite who has read almost all the major biographies and articles about Jane, plus her books and letters and a great number of sequels about her novels and life, that I would have my fill of reading about Miss Austen. But I haven’t.

One acquaintance asked me how I could continue reading books that, on the surface, seemed all so similar. It’s simple, really. I rarely tire of talking about Jane and her works. I love the conversations in our book group. I enjoy attending conferences and meetings about her, listening to Janeite scholars and reading the insights of other bloggers who bring their own unique perspectives to her life and work. No matter how much I learn, I am still eager to know more. Just a slightly different take on her life and novels will provide me with new insights that spur me to uncovering more information. Full-fledged Janeite that I am, I can now publicly confess: I am dotty about Jane Austen and crazy about the Regency era.

My review of The Real Jane Austen

I frankly did not think I would like this book, my preconception coming from the blitz of publicity last year about the lost image of Jane Austen that Paula Byrne discovered. (I much prefer Cassandra’s tiny amateurish watercolour, which I viewed at the National Portrait Gallery.) When I received the book for review, I was mightily sick of the hoopla surrounding the portrait and began reading Dr. Byrne’s biography with some skepticism. Imagine my joy when the book held my interest from the start.

My preferred image of Jane Austen painted by Cassandra Austen. Image @National Portrait Gallery.

My preferred image of Jane Austen painted by Cassandra Austen. Image @National Portrait Gallery.

The Real Jane Austen focuses on specific objects, like the topaz crosses that Jane and her sister Cassandra received from their brother Charles. The conversation segued into a discussion of Charles and Frank Austen’s careers in the Royal Navy, and the lives of sailors in general, including that of William Price in Mansfield Park and those of the sailors in Persuasion. Details of letters and visits home flesh out our knowledge of Jane’s relationship with her brothers, as well as the background for some of the characters in her novels. While life on board ship was harsh, a career in the navy was one way in which the Austen men could seek their fortune through promotions and the spoils of war. At the tender age of eighteen, Frank obtained his lieutenant’s commission.

In some cases, early promotion led to discontent among the crews, particularly when over-enthusiastic young officers meted out punishments to their inferiors. Logbooks taken from Frank’s ships show the severity of the punishments. Forty-nine lashes would be given for theft and a hundred for insolence to a superior officer.”

Janeites who have read Jane Austen’s Sailor Brothers by John Henry Hubback, Edith C. Hubback, J.H. Hubback would already know many of these sailor details, but they are new for many. Dr. Byrne threads the influences in Jane’s life in such a way that a seasoned Janeite is happily reminded of well-known facts and a new reader is introduced to them in the context of Jane’s life, her letters and novels, and her influences.

Dr. Byrne uses other objects to develop Jane’s biography: a vellum notebook; a card of lace, which led to a discussion of the shoplifting trial of her aunt, Jane Leigh Perrot; the laptop writing box given to her by her father; her royalty check, which confirmed her as a professional writer; and a bathing machine, commonly used by bathers at seaside resorts. While at Lyme, Jane caught a fever and took to bathing to recover, using bathing machines and the services of a dipper named Molly:

Jane Austen enjoyed the experience of being dipped so much that she continued to take advantage: “The Bathing was so delightful this morning and Molly so pressing with me to enjoy myself that I believe I staid in rather too long, as since the middle of the day I have felt unreasonably tired.”

We learn that Jane, while a doting aunt, viewed children much as she did adults – some were simply easier to like than others. Her observation of Anna Lefroy’s girls is not unlike one that I can make of my family members, including myself: “Jemima has a very irritable bad Temper (her Mother says so) – and Julia a very sweet one, always pleased and happy.” Jane fondly thought about her fictional characters and how their lives would unfold, telling her relatives the details of Jane Fairfax’s and Kitty Bennet’s futures, for example – details that we Janeites crave.

There are other pleasant tidbits, of which I shall name a few. They include Tom Fowle’s letter to Cassandra, her fiance who tragically died at sea before he could afford to wed her; Cassandra’s deep romantic nature and her humorous side; the fact that Elizabeth Bridges preferred Cassandra over Jane, whom she did not like; details of Jane’s travels in an age when 90% of the populace sojourned only a few miles from their own community (This proves her to be less provincial than the myth of the isolated, rural spinster); Jane’s knowledge of the larger world, including the Napoleonic wars, slave and opium trades, and life at sea; that serious Frank Austen lacked a sense of humor but that he was quite generous towards the Austen women after Rev. George Austen’s death; and that Henry, Jane’s favorite brother called his sisters and mother “The Dear Trio”.

Frank Austen

Frank Austen

Many of these details are well-known to those of us who have researched Jane’s life for a number of years, but their presentation is delivered in a unique package that ties biographical influences to key moments and objects, and that weaves a view of Jane Austen which is both personal and well-researched. Unlike dry scholarly endeavors, filled with footnotes and references and a dense academic tone, Byrne keeps her wide readership in mind with a writing style that is relaxed and quite readable. There are just enough images to add another layer of depth to our reading experience.

Five out of five regency teacups

Five out of five regency teacups

I recommend The Real Jane Austen: A Life in Small Things highly to readers who are new to Jane Austen’s life and times, as well as to committed Janeites who simply cannot read enough about their favorite author. I imagine there will be some Janeites who will find this biography somewhat repetitive – I am not one of those. My rating is five out of five regency teacups.
Product Details
Hardcover: 400 pages
Publisher: Harper; First Edition edition (January 29, 2013)
Language: English
ISBN-10: 0061999091
ISBN-13: 978-0061999093

More on the topic:

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Inquiring Readers, my friend and frequent contributor, Tony Grant, sent me a gift that went straight to my heart – the Royal Mail’s new Jane Austen stamps. These were printed to mark the 200th anniversary of Pride and Prejudice. The packaging, as you can see from my scans, is divine, with Jane’s name printed in a font based on her handwriting.

BeFunky_jane austen stamps.jpg
For a lucky few, letters that were posted during a designated week in Chawton in Hampshire, where she lived during the last 8 years of her life, and in Steventon near Basingstoke, where she spent her first 20 or so years, will bear a special postmark. To read the information on the packaging, click on the images.

Jane Austen

BeFunky_georgette heyer_0004.jpg

In the scan below the Pride and Prejudice stamp is blown up and sits in the center. Again, click on the image to read the text.
georgette heyer_0002
Elizabeth views Darcy’s portrait as she wanders through Pemberley, guided by the housekeeper and escorted by her aunt and uncle. The scans overlap a bit. In the one below you can see the six stamps affixed at the bottom.

georgette heyer_0003

The special postmark for the  set features the Pride And Prejudice quote: “Do anything rather than marry without affection.” Royal Mail’s Andrew Hammond said: “It is an honour for Royal Mail to commemorate [Jane Austen's] work.”

timthumb

Illustrator Angela Barrett was commissioned to illustrate the six stamps that make up the st. One can only wish that somewhere up in heaven she and her family are aware of how very far her fame has spread. If you will note, the Sense and Sensibility and Pride and Prejudice stamps make up the first class stamps.

_65977674_janeaustenstampprideandprejudice

In 2007, a BBC poll for World Book Day voted Pride and Prejudice as the book most respondents could not live without. – BBC News

Jane-Austen_MRM-583x371px

Published in 1813, Pride and Prejudice was Austen’s second novel and she described it as her “own darling child”. – The Guardian

Jane_Austen_commemorative_stamps_go_on_sale

Below are the enlarged stamps of Northanger Abbey and Persuasion.

Jane Austen 200th anniversary Royal Mail stamps

Information and images from ExpressGazette,  Radio Times, and BBC News.

 Thank you, Tony, from the bottom of my heart. These Jane Austen stamps are the perfect gift for a Janeite.

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Inquiring Readers: This post combines two of my passions: Jane Austen and the Regency Era and Project Runway. Emilio Sosa’s (Esosa’s) beautiful fashions earned him the runner up position in Project Runway Season 7. Two of his sketches  for the costumes of Sense and Sensibility the Musical are included below.

CASTING ANNOUNCED FOR

WORLD PREMIERE OF

“SENSE & SENSIBILITY THE MUSICAL”

Image used with permission, @Carla Befera & Co.

Image used with permission, @Carla Befera & Co.

 

The Denver Center Theatre Company’s (DCTC) world premiere production of SENSE & SENSIBILITY THE MUSICAL,with book and lyrics by Jeffrey Haddow and music by Neal Hampton, will receive its world premiere production April 5 – May 26, 2013 in The Stage Theatre at the Denver Center for Performing Arts at 14th and Champa.

Starring in the pivotal Dashwood sister roles will be Stephanie Rothenberg as Elinor and Mary Michael Patterson as Marianne. Ms. Rothenberg made her Broadway debut last season as Rosemary opposite Nick Jonas in How to Succeed in Business Without Really Trying and then starred as Princess Anne in the Guthrie Theater’s world premiere musical, Roman Holiday. Ms. Patterson had her Broadway debut in the Roundabout Theatre Company’s Tony-winning revival of Anything Goes.

The sisters’ romantic entanglements will be portrayed by three of Broadway’s leading men. Nick Verina, seen as Young Ben in the recent Broadway revival of Follies with Bernadette Peters, will take on the role of Edward; Jeremiah James, who starred as Billy Bigelow in the West End revival of Carousel and as Curly in the first national tour of Oklahoma!, will portray Willoughby; and Robert Petkoff, Broadway’s recent Lord Evelyn Oakleigh opposite Sutton Foster in Anything Goes, will be the upstanding Colonel Brandon.

Additional Broadway talent joining the cast includes Ed Dixon (Anything Goes, Sunday in the Park with George, Mary Poppins, How the Grinch Stole Christmas) as Sir John; Ruth Gottschall (Mary Poppins, The Music Man, Funny Thing…Forum) as Mrs. Jennings, and Joanna Glushak (Sunday in the Park with George, Urinetown, Les Misérables) as Mrs. Dashwood/Mrs. Ferrars.

Logo used with permission, courtesy @Carla Befera & Co.

Logo used with permission, courtesy @Carla Befera & Co.

The production boasts a formidable production team, including Set Designer Allen Moyer, Tony nominee for Grey Gardens; Costume Designer ESosa,2012 Tony nominee for The Gershwin’s Porgy and Bess and “Project Runway” finalist; acclaimed Lighting Designer James F. Ingalls; Sound Design byCraig Breitenbach (world premiere of The Laramie Project); Music Supervisor David Loud, whose recent Broadway productions include The Gershwin’sPorgy and Bess and The Scottsboro Boys; Music Director and Conductor Paul Masse, whose Broadway credits include The Scottsboro Boys, as well asCurtainsChicagoAvenue Q42nd Street, and Gypsy, and Orchestrations are by Kim Scharnberg and Neal Hampton.

Producing Artistic Director Kent Thompson selected SENSE & SENSIBILITY THE MUSICAL after it became a runaway hit at the 2012 Colorado New Play Summit.

Esosa was one of the contestants in Project Runway 7, and won runner up. Image Credit: Lifetime Television

Esosa was one of the contestants in Project Runway 7, and won runner up. Image Credit: Lifetime Television

About ESosa, the Costume Designer

ESosa, costume designer for Sense & Sensibility The Musical, based on Jane Austen’s much loved first novel, moves effortlessly between the fashion world and the theatre world. This rising fashion star, better known as Emilio to his Project Runway fans, is also widely admired for finishing second in Season 7 as well as in the most recent Project Runway All-Stars. Yet ESosa has supported himself for much of his career by designing costumes for more than 75 productions regionally and on Broadway.

Today he sees himself as a fashion designer first: “I’ve had a wonderful career in theatre and I’m very blessed, but when I look in the mirror, I always see a fashion designer first and a theatre designer second. I use elements of both, because my fashion informs my theatre and my theatre informs my fashion. They go hand in hand.”

So when conceiving the costumes for Sense & Sensibility, he approached it as a time-travelling fashion designer working in 1810: “I start by designing clothing, and then I worry about theatricalizing the garments later.”  The Regency period of Austen’s novels, recognized most of all for the signature Empire waistline of the ladies’ dresses, provided an abundance of elements to work with: stripes which allow for the creation of chevrons and diamonds, but also florals, polka dots, brocades, lace, jewelry, chiffon. “What was big in this period was transparency. It was a very sexy period for women and men. Bosoms were big, and bosoms don’t go out of style.”

And of course color. On Project Runway ESosa became known for his bold use of color. Will any of that be on display?

“Oh yes, we’ll be playing with bolder colors. You have some characters that call for it, like Lucy. She’s more of a free spirit. For me color is an indication of personality.” The two Dashwood sisters will be dressed in blues (Elinor) and pinks (Marianne). One can only imagine the color palette he’ll come up with for Mrs. [Jennings], the boisterous and comic busybody.

How will this production differ from fastidiously researched film and TV versions of Austen’s oeuvre that periodically come to us from across the pond?

“We’re going to be true to the period,” says ESosa, “but we’re going to experiment with color and pattern and make it visually exciting.” Marcia Milgrom Dodge, director of the musical, wanted to bring his “fearless fashion sensibility” to the refined, stately Regency fashions. “The world of Jane Austen is often depicted in film and television with slavish authenticity,” she explains. “I wanted someone who would honor the period but also be bold and find modern gestures that will illuminate character and help the audience identify with them in a very immediate way.  With his keen fabric choices, witty accessories and smart use of color, ESosa is exactly that designer to bring these beloved characters to vivid life.”

As far as the men are concerned, the designer says he’ll be staying very true to the period’s silhouette—tailcoats and top hats—again taking some liberties with color and fabric selections: “Where I have my freedom is in the color combinations, the details that we add, the shaping. We will tweak it a little. My goal is always to make my actors feel and look good and able to tell the story.”

Oddly enough, ESosa says he is more often recognized as a former Project Runway contestant by theatre people than by people from the fashion industry. Perhaps more theatre people watch the show than those who do fashion for a living? But the show has helped raise his profile in both worlds. He believes a series like Project Runway can do a lot of good: “It’s a great platform for American fashion, and I’m a great proponent of Made in America. I think as a country we need to support our homegrown artists, especially in fashion.”

Mrs. Ferrars costume sketch
Born in the Dominican Republic and brought to the United States at age 3, ESosa was raised in Fort Apache, a tough area of the South Bronx. His interest in art and fashion eventually took him out of the Bronx, first to Manhattan’s High School of Art and Design and then to the Pratt Institute in Brooklyn. One of his early professional jobs was as a personal dresser for Judith Jameson and as an apprentice costume-maker for the Alvin Ailey American Dance Theatre.

The story about how he landed his first Broadway production, Suzan-Lori Parks’ Topdog/Underdog, shows the moxie underlying ESosa’s low-key demeanor. Running into Public Theater artistic director George C. Wolfe in the streets of New York, he summoned his courage and went up to him, announcing “Mr. Wolfe, I’m the best costume designer you’ve never worked with.”

“George likes that kind of bravado,” the designer explained. “He was interested. …They brought me in and I had a great, great meeting with him.” Needless to say he got the job and even went on to design Suzan Lori Park’s wedding dress.

ESosa’s two-track career continues full steam ahead. The fashion designer recently launched his own clothing line and has shown collections in New York, Miami and Paris. The costume designer won a Lucile Lortel award for Lynn Nottage’s By the Way, Meet Vera Stark and was nominated for a Tony Award for his work on Porgy and Bess. He feels that his burgeoning fashion fame will not pull him away from the theatre: “I will always have a presence in the theatre. It’s just a matter of finding the balance. It’s part of my life. It’s part of my DNA.”

More About ESosa

More About Sense & Sensibility The Musical

April 5 – May 26 • Stage Theatre
Producing Partners: The Anschutz Foundation, Joy S. Burns, Daniel L. Ritchie, June Travis
Sponsored by The Ritz-Carlton, Denver and U.S. Bank
Signed & Audio Described • May 19, 1:30pm

SENSE & SENSIBILITY THE MUSICAL is based on the novel by Jane Austen. Book and lyrics by Jeffrey Haddow, Music by Neal Hampton. Directed and choreographed by Marcia Milgrom Dodge. 

 

Performance Schedule

Tuesday, Wednesday, and Thursday performances at 6:30pm

Friday and Saturday evening performances at 7:30pm

Saturday and Sunday matinees at 1:30pm

No children under four admitted.

 

Tickets and Subscriptions

Tickets ($55 – $65) are available now by calling 303.893.4100 or 800.641.1222 (TTY 303.893.9582). Subscribers enjoy free ticket exchanges, payment plans, priority offers to Broadway shows, discounted extra tickets, a dedicated VIP hotline, free events including talkbacks and receptions, and the best seats at the best prices, guaranteed.

SENSE & SENSIBILITY THE MUSICAL is presented by special arrangement with Betty Ann Besch Solinger and Alice Chebba Walsh. This production of SENSE & SENSIBILITY THE MUSICAL, generously sponsored by U.S. Bank and The Ritz-Carlton, is part of the Denver Center Theatre Companyand Denver Center Attractions (DCA) 2012/13 seasons. SENSE & SENSIBILITY THE MUSICAL Producing Partners: The Anschutz Foundation, Joy S. Burns, Daniel L. Ritchie, June Travis. DCTC is generously supported by Larimer Square, The Steinberg Charitable Trust and Wells Fargo Advisors. DCA is generously supported by United Airlines and Vectra Bank. Media sponsors are The Denver Post and CBS4.  The Denver Center for the Performing Arts is supported in part by the Scientific and Cultural Facilities District.  Please visit our website at www.denvercenter.org

**Please be advised that The Denver Center for the Performing Arts – denvercenter.org – is the ONLY authorized online seller of tickets for Denver Center Attractions (the Broadway touring productions) and the Denver Center Theatre Company (the resident theatre company productions). Currently there are scalpers, also known as ‘second party vendors,’ selling tickets online at a rate more than double the standard price – and up. Tickets bought through these vendors MAY NOT BE VALID. You could not only be refused admission, but also lose your entire investment.

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Sewell, The Bennet sisters

Sewell, The Bennet sisters. The photos do not capture the detail of each image.

This year we celebrate all things Pride and Prejudice in honor of the novel’s 200 year anniversary. Just recently, Ruby Lane sold a rare, out of print, limited 1940 edition of Pride and Prejudice, illustrated by Helen Sewell, an illustrator of mainly children’s books. People today still recognize the original drawings she created for the Laura Ingalls Wilder Little House books.

Helen Sewell

Helen Sewell

About Helen Sewell

Sewell was born June 27, 1896 at Mare Island Navy Yard, California. Her family moved to Guam shortly afterward, where her father, William Elbridge Sewell, served as Governor.

Education

Sewell wanted to be an artist since the age of eight. At 12 years old, she began attending Pratt Institute’s Saturday classes and by 16 years of age was enrolled there full time. This was in place of completing high school. At Pratt, she studied classes with Alexander Archipenko, who was the underlying influence for her broken-cylinder figures.

"Not handsome enough"

“Not handsome enough”

mrs bennet

Mrs. Bennet

Sewell began her long career working on Christmas and greeting cards; her first illustrated publication was in 1923. She primarily illustrated children’s books by Laura Ingalls Wilder, Elizabeth Coatsworth, Eleanor Farjeon, and Frances Clarke Sayer. As with Pride and Prejudice and a 1957 edition of Sense and Sensibility, Sewell also created drawings for a small number of adult publications

Unguarded moments shows the full page illustration

Unguarded moments shows the full page illustration

Sewell’s style included a simple use of color, which at times eliminated black all together, and her use of the white paper.  Her line drawings were in imitation of 19th century steel engravings. She died in 1957 at the age of 61.

Illustration of the Gardiners on page 324

Illustration of the Gardiners on page 324

About the Limited 1940 edition of Pride and Prejudice

coverThe image at right is of a hardcover, green marbled slipcase. Quarter binding, green marbled board cover, with  brown faux leather spine. Heritage edition illustrations are signed by the illustrator. (The commercial issue would have fewer illustrations for the ordinary book buyer.) It is said that photographic images do the drawings no justice, for they are quite detailed when seen in person.

 

darcy and elizabeth

Darcy and Elizabeth dancing

sewell illustration

This limited edition book sold for $74 at Ruby Lane. I would gladly have paid more. Other limited edition books are selling for as much as $900 per copy. (Click on images for a larger view.)

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The Missing Manuscript of Jane Austen by Syrie JamesGentle readers, One lucky U.S. reader is eligible to win a copy of Syrie James’s latest book, The Missing Manuscript of Jane Austen! (See below) Contest Closed: The winner is - Lilyane Soltz. Congratulations!

The Missing Manuscript of Jane Austen, Syrie James

In the Missing Manuscript of Jane Austen, author Syrie James attempts a plot device that often trips up even the most experienced authors -a novel within a novel. Samantha McDonough, librarian and Jane Austen scholar, stumbles upon a clue in an old book of poetry she purchased while on a visit to England.

The minute I saw the letter, I knew it was hers. There was no mistaking it: the salutation, the tiny, precise handwriting, the date, the content itself, all confirmed its ancient status and authorship…

This letter leads her on a quest to find a missing manuscript by Jane Austen. Her journey lands her on the doorstep of handsome Anthony Whitaker, who has just inherited his estranged father’s rundown estate. By virtue of her charm, grit, and determination, Samantha persuades a skeptical Anthony to rummage around dusty rooms, cupboards, and closets and his attic until, voilà, they miraculously find a manuscript entitled The Stanhopes and that consists of 41 tiny hand-cut and bound booklets. (The Watsons, Jane’s unfinished manuscript, is made of 11 similarly bound booklets.)

A draft of Jane Austen's novel The Watsons, which was written in about 1804 . Image @The Guardian

A draft of Jane Austen’s novel The Watsons, which was written in about 1804 . Image @The Guardian

Anthony and Samantha immediately begin to read Jane’s long lost words, and, like Alice tumbling down the rabbit hole, the pair are instantly swept into the story of Rebecca Stanhope and her father, a rector with a propensity for mild gambling over a friendly game of cards. His vice sets off the plot, which is based on Jane’s hilarious Plan of a Novel. In short order, the rector loses a great deal of money with which he has been entrusted and then is forcibly retired from his living. Now destitute,  Mr. Stanhope and Rebecca (a sweet heroine  in the vein of a slightly feistier Jane Bennet or more mature Catherine Morland) must move from place to place – from the rectory to a married daughter’s cramped house, to an elegant abode in Bath, to a seedy inn, and so forth. Along the way, Rebecca receives three proposals, one that is almost as ridiculous as Mr. Collins’ proposal to Elizabeth, and two more serious ones from two suitors who are as different from each other in temperament and intent as, well, Henry Crawford and Edmund Bertram or Willoughby and Colonel Brandon. The road to a romantic union is rocky, and along the way both heroines (Rebecca and Samantha) must learn some harsh truths about themselves and others before they can be united with their heroes.

As the story develops, the reader will recognize a number of plot developments and characters based on those in Austen’s novels. Since the missing manuscript was written early (1802) and before Jane published her books and rewrote Sense and Sensibility and Pride and Prejudice for publication, one can assume that this manuscript is meant to be a foreshadowing of the mature novels.  Syrie James, a strong writer in her own right, is smart in setting Jane’s  lost manuscript so early in Jane’s writing career. Austen’s Juvinilia includes melodramatic twists and turns, evident in Northanger Abbey (when Catherine Morland is forced to leave the Abbey alone in the middle of the night) and in The Stanhopes, when Rebecca must find employment in the most unusual and creative way in order to feed herself and her father. The reader should also assume that the manuscript, having been lost before Jane could fully edit and revise it, was found in its  ”raw” stage. This would explain any stylistic differences between the lost manuscript and Jane’s later works (and, more practically, between Syrie’s and Jane’s writing styles as well).

I won’t give too much of the plot away, except to say that I was more interested in the Stanhopes than the modern Samantha and Anthony story line. (I believe I had the same preference with Jane Odiwe’s Searching for Captain Wentworth, in which I liked the time travel to the past more than the contemporary narrative.) Syrie’s novel is filled with historically and geographically correct details, which I always appreciate in a novel set in a foreign country or in the past. As an interesting aside, one of Samantha’s friends in the modern world is Laurel Ann, a bookseller. Who could it be, I wonder? (Hint: Austenprose.)

Insights into Jane Austen’s World

Syrie, who I met at the Brooklyn AGM meeting and whose Regency costumes are varied and fabulous, graciously sent me some interesting details about one of Jane’s letters to Cassandra, and how one should handle an old manuscript:

 I don’t know if it’s strange or funny, but while re-reading Jane Austen’s letters to her sister Cassandra, I was fascinated to find the following mention of a “shut-up bed”:

Martha kindly made room for me in her bed, which was the shut-up one in the new nursery. Nurse and the child slept upon the floor, and there we all were in some confusion and great comfort. The bed did exceedingly well for us, both to lie awake in and talk till two o’clock, and to sleep in the rest of the night.

I take this to mean that a “shut-up bed” is what we now call a Murphy bed, or a bed that folds up and away by day into a piece of furniture. I happily put this information to use in The Stanhopes.

Here’s one fact that surprised me: I presumed that when my modern day characters found Jane Austen’s centuries-old manuscript, they’d have to wear latex gloves while handling it. (That was previous my experience when reviewing precious, old documents.) However, Christine Megowan, the Special Collections Librarian at Loyola Marymount University, explained that none of the conservators she knows wear gloves to handle old books and paper, because they don’t fit well and are clumsy. As long as your hands are clean and you work gently, she said, the oils on your fingers don’t do all that much damage to paper—you’d do far more mechanical damage by fumbling with latex gloves. I put that quote directly into the novel.

If you are interesting in reading similar  insights from Syrie, click on the links to her blog tour!

About Syrie James:

Syrie JamesAuthorPhoto2011 - Credit William James (1)Syrie James is the bestselling author of eight critically acclaimed novels, including The Missing Manuscript of Jane Austen, The Lost Memoirs of Jane Austen, The Secret Diaries of Charlotte Brontë, Dracula My Love, Nocturne, Forbidden, and The Harrison Duet: Songbird and Propositions. Her books have been translated into eighteen foreign languages. In addition to her work as a novelist, she is a screenwriter, a member of the Writers Guild of America, and a life member of the Jane Austen Society of North America. She lives with her family in Los Angeles, California. Connect with her on her website, Facebook, and Twitter.

Follow Syrie’s Blog tour in these links: 

About the book:

Amazon Prices

  • Kindle Edition $9.99
  • Paperback $10.20
  • Audible Audio Edition, Unabridged $23.95 or Free with Audible 30-day free trial
  • Reading level: Ages 18 and up
  • Paperback: 432 pages
  • Publisher: Berkley Trade; Reprint edition (December 31, 2012)
  • ISBN-10: 0425253368
  • ISBN-13: 978-0425253366

About the book giveaway for The Missing Manuscript of Jane Austen:  

For your chance to win a copy of Syrie’s latest book, let us know how you would feel and react if you stumbled across a long lost Jane Austen document! Contest open to U.S. readers only. Drawing by random number generator. Deadline, January 23rd, 2013, midnight EST. Contest Closed: The winner is - Lilyane Soltz. Congratulations!

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Inquiring readers: This is the first of many posts I’ll be writing about “Pride and Prejudice” in honor of that novel’s 200 year anniversary in 2013. Enjoy.

Cheapside in 1823. Engraved by T.M. Baynes from a drawing by W. Duryer.JPG

Cheapside in 1823. Engraved by T.M. Baynes from a drawing by W. Duryer. Image @Wikipedia

Some London streets seem determined never to distinguish themselves. No mediaeval scuffle has ever occurred in them; no celebrated church hoards its monuments; no City hall cherishes its relics there; no celebrated person has honoured it by birth or death. Gracechurch Street is one of these unambitious streets. It derived its name, says Stow, from the grass or herb market there kept in old time, and which gave its name to the parish church of St. Bennet. - British History Online,

It is a woeful fact that I most likely crossed Gracechurch Street on my first visit to London and never new it. We had just visited Tower Hill and were heading for St. Paul’s Cathedral on foot. My husband and I wandered here and there and got lost, no nearer to our destination. This part of London seemed a mismash of old and mostly modern buildings, with wide and narrow streets, some twisting and winding, others straight. It was nothing like the old London my 24-year-old self had expected to see, for at that time I did not fully realize the extent of the devastation that the great fire of 1666 had wrought. Those changes were compounded by the London Blitz during WWII and recent modernization.

Early modern map of Cheapside. Image @The Map of Early Modern London

Early modern map of Cheapside. Image @The Map of Early Modern London One can see Bow Church at the top center.

We finally boarded a transit bus and missed noticing Gracechurch Street. Not that I would have searched for it. At that time I would not have recalled the few references in Pride and Prejudice to the street where Lizzy Bennet’s aunt and uncle Gardiner lived.

Mr. Gardiner was a sensible, gentlemanlike man, greatly superior to his sister, as well by nature as education. The Netherfield ladies would have had difficulty in believing that a man who lived by trade, and within view of his own warehouses, could have been so well bred and agreeable. Mrs. Gardiner, who was several years younger than Mrs. Bennet and Mrs. Philips, was an amiable, intelligent, elegant woman, and a great favourite with all her Longbourn nieces. Between the two eldest and herself especially, there subsisted a very particular regard. They had frequently been staying with her in town.

The first part of Mrs. Gardiner’s business on her arrival, was to distribute her presents and describe the newest fashions.

I love the Gardiners, two sane people in a novel filled with characters and oddballs. They provide ballast and sound advice to Elizabeth, who wisely turned to Mrs. Gardiner, not her mother, when mulling a problem about love and life. Mr. Gardiner was a merchant who lived close to his warehouse. Despite their middle class background, the Gardiners are more refined and sensible than many of their social betters. Elizabeth is proud to introduce them to Mr. Darcy when visiting his estate, knowing that their restrained behavior would not make him (or her) cringe.

Cheapside in the mid 18th century. Image @Republic of Pemberley

Cheapside in the mid 18th century. Image @Republic of Pemberley

Caroline Bingley, whose snobbishness was evident when she paid Jane a hasty courtesy call at Gracechurch Street, demonstrated a decided lack of class when she all but wrinkled her nose at a neighborhood she had probably managed to avoid all her life, an interesting attitude considering her family’s wealth came from trade and she was but one generation away from the “stench” of the merchant class. Social calls, their timing and length – or lack thereof – could be used to extend a friendship or give the cut direct, which in this instance Miss Bingley chose to do to Jane. Her lack of civility and coolness before and during the visit finally opened Jane’s eyes to Caroline’s desire to end their friendship. This was an event that Mrs. Gardiner and Lizzy correctly predicted beforehand:

The Gardiners and their brood, Pride and Prejudice, 1995

The Gardiners and their brood, Pride and Prejudice, 1995

Chapter 25:  [Mrs. Gardiner] Poor Jane! I am sorry for her, because, with her disposition, she may not get over it [her failed love affair with Bingley] immediately. It had better have happened to you, Lizzy; you would have laughed yourself out of it sooner. But do you think she would be prevailed on to go back with us? Change of scene might be of service — and perhaps a little relief from home, may be as useful as anything.”

Elizabeth was exceedingly pleased with this proposal, and felt persuaded of her sister’s ready acquiescence.

“I hope,” added Mrs. Gardiner, “that no consideration with regard to this young man will influence her. We live in so different a part of town, all our connexions are so different, and, as you well know, we go out so little, that it is very improbable they should meet at all, unless he really comes to see her.”

“And that is quite impossible; for he is now in the custody of his friend, and Mr. Darcy would no more suffer him to call on Jane in such a part of London! My dear aunt, how could you think of it? Mr. Darcy may, perhaps, have heard of such a place as Gracechurch Street, but he would hardly think a month’s ablution enough to cleanse him from its impurities, were he once to enter it; and, depend upon it, Mr. Bingley never stirs without him.”

“So much the better. I hope they will not meet at all. But does not Jane correspond with the sister? She will not be able to help calling.”

“She will drop the acquaintance entirely.”

Dennis Severs house, a Georgian merchant's house. Image @photographsRoelof Bakker, www.rbakker.com

Dennis Severs house, a Georgian merchant’s house in Spitalsfield. Image @photographs
Roelof Bakker, http://www.rbakker.com

“…lessen their chance of marrying men of any consideration in the world.

With this phrase, Austen gives us a clue about the Bennet girls’ situation, but, as we know, the ending of Pride and Prejudice proves this forecast wrong (for Lizzy and Jane, at least).

Lizzy is right about Caroline Bingley, but not about Darcy. In the following scene her prejudice towards that proud man comes to the fore. She assumes that Mr. Darcy’s attitude towards Gracechurch Street will echo that of Caroline Bingley, for this bustling shopping district simply wasn’t an area that the upper crust tended to visit. Caroline, Darcy and Bingley made their observations about the Bennet family during their stay at Netherfield:

Darcy and Caroline at breakfast

Darcy and Caroline at breakfast

“I think I have heard you say that their uncle is an attorney in Meryton”

“Yes; and they have another, who lives somewhere near Cheapside.”

“That is capital,” added her sister, and they both laughed heartily.

“If they had uncles enough to fill all Cheapside,” cried Bingley, “it would not make them one jot less agreeable.”

“But it must very materially lessen their chance of marrying men of any consideration in the world,” replied Darcy.

Darcy, it turns out, is made of finer stuff than Caroline Bingley, for when he visits the Gardiners in his quest to find Wickham, his attitude is anything  but snobbish – stubborn, as Mrs. Gardiner later relates, but not snobbish. While arranging Wickham’s marriage to Lydia, he visits Gracechurch Street on several occasions and even dines with the Gardiners, leaving them with a very positive impression of his character:

Chapter 51 [Letter from Mrs. Gardiner to Lizzy after Lydia revealed Darcy's part in her marriage to Wickham] He dined with us the next day, and was to leave town again on Wednesday or Thursday. Will you be very angry with me, my dear Lizzy, if I take this opportunity of saying (what I was never bold enough to say before) how much I like him. His behaviour to us has, in every respect, been as pleasing as when we were in Derbyshire. His understanding and opinions all please me; he wants nothing but a little more liveliness, and that, if he marry prudently, his wife may teach him. I thought him very sly;—he hardly ever mentioned your name. But slyness seems the fashion.

Mansion House, Cheapside. Image @Darvill's Rare Prints

Mansion House, Cheapside. Image @Darvill’s Rare Prints

At the time that Jane Austen wrote Pride and Prejudice, Cheapside was a very elegant thoroughfare with many sumptuous warehouses, convenient coffee houses, and  smart shops. In Real Life in London, Pierce Egan writes a passage in which Tom and Bob walk through this area filled with shopkeepers, bankers, merchants, shoppers, and “walking” billboards:

“Neither,” replied Dashall; “this is no other than the shop of a well-known dealer in stockings and nightcaps, who takes this ingenious mode of making himself popular, and informing the passengers that

“Here you may be served with all patterns and sizes,
From the foot to the head, at moderate prices;”

Mercer's Hall, Cheapside. Image @London and Its Environs

Mercer’s Hall, Cheapside. Image @London and Its Environs in the Nineteenth Century

with woolens for winter, and cottons for summer—Let us move on, for there generally is a crowd at the door, and there is little doubt but he profits by those who are induced to gaze, as most people do in London, if they can but entrap attention. Romanis is one of those gentlemen who has contrived to make some noise in the world by puffing advertisements, and the circulation of poetical handbills. He formerly kept a very small shop for the sale of hosiery nearly opposite the East-India House, where he supplied the Sailors after receiving their pay for a long voyage, as well as their Doxies, with the articles in which he deals, by obtaining permission to style himself “Hosier to the Rt. Hon. East India Company.” Since which, finding his trade increase and his purse extended, he has extended his patriotic views of clothing the whole population of London by opening shops in various parts, and has at almost all times two or three depositories for Romanis, the eccentric Hosier, generally places a loom near the door of his shops decorated with small busts; some of which being attached to the upper movements of the machinery, and grotesquely attired in patchwork and feathers, bend backwards and forwards with the motion of the works, apparently to salute the spectators, and present to the idea persons dancing; while every passing of the shuttle produces a noise which may be assimilated to that of the Rattlesnake, accompanied with sounds something like those of a dancing-master beating time to his scholars. his stock. (sic) At this moment, besides what we have just seen, there is one in Gracechurch Street, and another in Shoreditch, where the passengers are constantly assailed by a little boy, who stands at the door with some bills in his hand, vociferating—Cheap, cheap.”

“Then,” said Bob, “wherever he resides I suppose may really be called Cheapside?”

“With quite as much propriety,” continued Ton, “as the place we are now in; for, as the Irishman says in his song,

“At a place called Cheapside they sell every thing dear.”

During this conversation, Mortimer, Merrywell, and Harry were amusing themselves by occasionally addressing the numerous Ladies who were passing, and taking a peep at the shops—giggling with girls, or admiring the taste and elegance displayed in the sale of fashionable and useful articles—justled and impeded every now and then by the throng. Approaching Bow Church, they made a dead stop for a moment.

“What a beautiful steeple!” exclaimed Bob; “I should, though no architect, prefer this to any I have yet seen in London.” – Real Life in London, Egan

Cheapside and Bow Church engraved by W.Albutt after T.H.Shepherd publ 1837 edited. The pretty steeple is visible in this image. (wikipedia)

Cheapside and Bow Church engraved by W.Albutt after T.H.Shepherd publ 1837 edited. The pretty steeple is visible in this image. (wikipedia)

Once upon a time, Cheapside and Gracechurch Street were in the commercial heart of the city of London. It was the main shopping district in Jane Austen’s day. She describes the journey to Gracechurch street and Lizzy’s visit with the Gardiners in this lively scene:

Chapter 27: It was a journey of only twenty-four miles, and they began it so early as to be in Gracechurch Street by noon. As they drove to Mr. Gardiner’s door, Jane was at a drawing-room window watching their arrival; when they entered the passage she was there to welcome them, and Elizabeth, looking earnestly in her face, was pleased to see it healthful and lovely as ever. On the stairs were a troop of little boys and girls, whose eagerness for their cousin’s appearance would not allow them to wait in the drawing-room, and whose shyness, as they had not seen her for a twelvemonth, prevented their coming lower. All was joy and kindness. The day passed most pleasantly away: the morning in bustle and shopping, and the evening at one of the theatres.

steel engraving of the Bow Church on Cheapside Street in London (the Bow Church is probably better known as Saint Mary's Le Bow and it is said that all true Cockneys were born within the sounds of this church's bells)

Steel engraving of the Bow Church on Cheapside Street in London (the Bow Church is probably better known as Saint Mary’s Le Bow and it is said that all true Cockneys were born within the sounds of this church’s bells) Image @bouletfermat.com

Gracechurch Street means grass-church and was thus named because of a hay market nearby (1680-1868). The distinctive steeple of  St Mary-le-Bow Church is the only structure remaining today that Jane Austen would have recognized. A church has stood on this ground since Saxon times. After the Fire of 1666, Christopher Wren designed a new structure, which was destroyed during a 1941 bombing was and carefully reconstructed during the 1950s. Today, Gracechurch Street largely resembles a modern office block.

Gracechurch street today (Google maps)

Gracechurch street today (Google maps)

In the 17th century, coffeehouses arrived in the City and these soon became the place to pick up news. Some houses became the makeshift offices of the trades they served, giving birth to some of the world’s greatest financial institutions – the London Stock Exchange started in Jonathan’s Coffeehouse in Change Alley and Lloyds of London takes its name from Edward Lloyd, the proprietor of a coffeehouse in Tower Street. This, coupled with the founding by Royal Charter of the Bank of England in 1694, was the catalyst for the development of the City as a financial centre. – History of Cheapside

Cheapside was anything but cheap, the name “cheap” being the Saxon term for market. (Learn more about Cheapside Street here.) The names of the streets in that section of the City described the trades contained within this district: Wood Street, Milk Street, Bread Street, Honey Lane, Poultry and Friday Street for fish.

Today plans are afoot to revitalize this section of London and return it to its glory as a major shopping destination. History of Cheapside

More on the topic:

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Inquiring readers: Tony Grant from London Calling has been a frequent contributor to this blog, sending posts and images. He lives in Wimbledon and acts as a tour guide, taking visitors on tours to Jane Austen country, the Lakes region, and points of interest all around London and the U.K. Recently, Tony sent in his thoughts about Jane Austen and his wish to delve deeper into other authors and their lives. As an active guide, he knows whereof he speaks. I asked Susannah Fullerton, author, president of JASA, and also a tour guide, to give her response (with Tony’s approval).  Here, then, is their very interesting conversation. I intend to weigh in. Does anyone else have an opinion? If so, please feel free to comment. Meanwhile, to all my U.S. readers, Happy Thanksgiving! Drive safely and have a wonderful time with kith and kin.

“Good-Bye to All That,” is an autobiography by Robert Graves. Graves said, “It was my bitter leave-taking of England where I had recently broken a good many conventions”.

I was reading a poem by Edward Thomas, (Philip Edward Thomas, 3rd March 1878 – 9th April 1917) recently, entitled, “The Brook.” In the poem Thomas is sitting by a stream and watching a child paddling in the brook. His senses are completely alert to the sights and sounds of insects, the sight of birds and the sounds of birds unseen, the play of sunlight, the rippling tinkling sounds of water and the memories of a past horseman and horse buried under a barrow on the heath nearby. The poem ends,

And then the child’s voice raised the dead.
“No one’s been here before,” is what she said.

It occurred to me that the child was right. Of course, probably, many people had been to that spot over years and decades. For each of us, however, when we go to a place for the first time that is pristine and natural and remains how it has always been we do experience something for the first time. It is as if nobody has been there or done that, or experienced that before us. We can experience things fresh and new for ourselves when we go somewhere like this, for the first time.

Signpost. Image @Tony Grant

Now lets take a visit to Chawton, Jane Austen’s last home before she died. I wonder if we can actually experience things fresh and new to us on a visit to Chawton and say,“No one’s been here before,” in the way the child in Edward Thomas’s poem did?

I remember standing at the crossroads in Chawton , years ago, for the first time. What I should have experienced, according to Jane Austen pilgrims to Chawton, is a sense of where she lived, a connection with Jane Austen – where she wrote, cooked, sewed, wrote letters, enjoyed the company of Cassandra, Martha, her mother and brothers and neighbours too. Indeed, Jane Austen (16 December 1775 – 18 July 1817) did all this over two hundred years ago. But can I or any of us get that feeling of, “No one’s been here before.” Do we really get an experience standing at Chawton crossroads next to that much photographed sign post put up in the 1930’s with pointers to the great house, the church and the cottage that it is the Chawton of Jane Austen? Do we really believe that we have a connection with Austen by being there? Isn’t it all in our imaginations because we want to believe?

Chawton Village street. Image @Tony Grant

Chawton high street is full of parked cars with Japanese, French, German, Spanish and Scandinavian makers emblems on them. The road is metalled and covered in tarmac. It has a pavement edged by slate and granite curb stones from Dartmoor. It has concrete and tarmac pavements. Houses surrounding the cottage have a mesh of telecommunication wires leading to each one. People who live in Chawton are all connected to the World Wide Web with broadband like the rest of us. Modern street lights light the streets at night. In the small park opposite the cottage there is a children’s playground with steal clambering structures and swings. The pub opposite, The Greyfriar, is a Fullers pub. They hold a quiz night once a week for locals that probably doesn’t include questions about Jane Austen. Fullers, by the way, is a London brewery situated on the Great West Road, leading out towards Heathrow Airport, close to where Hogarth had his country retreat. These very locals travel to Winchester, Southampton or even commute to London for work every day. Chawton C of E Primary School, just along the road, on the way to The Great House, is an ordinary primary school that teaches the national curriculum. The children are like children anywhere and this is where they live. The Jane Austen connection to them is by the by, not really pertinent to their lives. Although, I am sure, as the school is in Chawton the children will know a lot about Jane Austen, but she will really be just somebody else on their list of famous people and writers to know about. Those children play computer games on their Ipads at home. Chawton is an ordinary place where people live and get on with their ordinary lives, where Jane doesn’t loom much in their minds when they are peeling the potatoes or hoovering their carpets or watching the TV.

Chawton Cottage signs. Image @Tony Grant

Looking at the cottage from the outside, the Jane Austen societies have stuck large obtrusive signs on the walls facing the road. If you look at the structure of the building itself you begin to wonder what of it Jane would actually recognise if she were to come back today. Windows have obviously been bricked up. Was that a result of 18th century window taxes or because at one time the cottage was split into a group of smaller cottages? It has a variety of doors to enter by too which probably weren’t there or were in different locations in Jane’s day.

Staircase. Image @Tony Grant

When you go into the cottage you see modern radiators, electrical wiring, plug sockets and fire exit signs with the requisite fire extinguisher points. These are not subtly hidden or unobtrusive but are very prominent. Many of the display cases, especially upstairs, are bulky and obtrusive. They don’t look good. The staircase itself is not the staircase Jane Austen would have known in her time. The whole house has actually been restructured. The Austen’s might not recognise the place. It’s not really the place they knew.

The visitor’s entrance to Chawton Cottage. Image @Tony Grant

I always come back to the books and her letters. That is where to find Jane Austen. That is where we are going to get glimpses of the real person if we are attentive.
Now don’t get me wrong, I absolutely love reading Jane’s novels, her letters and the biographies written about her. However all these Jane Austen societies bother me. They worship and idolise her. They focus exclusively on her. They wring every bit of Janenness out of her. They make Chawton a false holy of holies. She was one writer for goodness sake. The world is a diverse and varied place full of great writers that we all need to read and not be partisan about. If I had my way I would get rid of all literary societies connected with all writers and say, just read. Reading develops us and helps us grow. Centering on one writer narrows us.

Penguin Classics

As a paraphrase of Robert Graves, this article “ (Is) my(not so) bitter leave-taking of (Austen) where I (have) recently broken a good many conventions”. We all need to stop squeezing the life out of Jane Austen and get on with real life and the rest of the real literary world. Returning to the essence of the Edward Thomas poem, I feel that my senses need to be open but to other writers without the weighty manufactured image of Jane Austen hovering over my shoulder.

Doesn’t anybody else feel that they would like to get out from underneath the weight of Austen and breath freely again?

Tony Grant

I am going to read all of Virginia Woolf’s novels after Christmas and post reviews. My mate Clive and I are going to do this in tandem. If you want an antidote to all things Jane, don’t stray!!!!!!! Clive and Tone are on their way.

Tony Grant, Wimbledon

Hi Tony,

I hope you are well. I enjoy reading your comments on Vic’s lovely website. Your photo of the Dolphin Hotel looks so nice in my new book, A Dance with Jane Austen. Thanks again for giving me permission to use it when we met.

I’m intrigued by your comments about Jane Austen societies, but don’t agree with you that they are in any way narrowing. My experience is quite the opposite. At JASA we’ve had talks on Jane Austen’s connections with / influence on many other writers – Kipling, Georgette Heyer, Byron, Radcliffe, the Brontes, etc. Such talks immediately send you hurrying off to get to know more about those other writers. We’ve had talks about Jane Austen and various historical figures, so you then want to learn more about them, and of course we’ve had talks and articles about the age in which she lived, so our members then explore music in her time, art and what paintings she knew, they learn about the church in that era, the navy and army, Georgian crime, fashion, food, travel, and the list goes on. I see JASA (and the other literary societies to which I belong) as a wonderful way of extending my reading and my knowledge, not limiting it.

And joining good literary societies is addictive. If you get great pleasure from learning more about one writer, you soon realise that you can do the same with another writer. It does not have to be exclusive – I’m extremely promiscuous indeed when it comes to joining literary groups! I’m part of an Anthony Trollope group (we have trouble knowing what to call our group – ‘The Trollopes’ has dubious connotations – I’d love to hear suggestions??) and we have been making our way through Trollope’s more than 40 novels with enormous pleasure. (Trollope, by the way, was a great admirer of Jane Austen). We have also read biographies of Trollope, biographies of his mother Frances, critical books about his writings, and books about the position of women in Victorian England. It’s a small group but we have all felt so enriched by it. Plus we have great fun, good food and wine, picnics (in places Trollope visited in Australia) and we have all made new friends.

And lastly a fabulous reason to join a literary society is for the social aspects. I have met some of my dearest friends through JASA and other Jane Austen connections. I can honestly say that joining JASA has totally changed my life – and all for the better – so there’s been nothing ‘narrowing’ about my passion for Jane Austen’s novels. Rather than ‘squeezing the life’ out of Jane Austen, my love of her writings has widened my knowledge, increased my appreciation of her books, life and historical era, has taken me around the world, given me new friends and given me intense happiness. The more I turn to her novels, the more I get from them; and the same goes for JASA – Jane Austen keeps giving and giving and I receive so very happily all she has to give in so many ways.

Am I waxing too lyrical??? I think you need to pay a visit to Australia, Tony, so that I can show you in person all you could get from a great literary society. Please come and visit any time!!!! JASA would love to welcome you to sunny Sydney.

Cheers,
Susannah

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Shades from Jane Austen by Honoria Marsh was published in 1975-1976 in a series of limited editions. I saw this rare work at the silent auction table at the 2012 JASNA AGM meeting in NYC. There were many beautiful items, but this one was a standout with its colored illustrations, mostly silhouettes, and a few reproductions of Jane Austen’s writings. Bidding began at $50.00, but at the time I approached the table the price had gone up to $150.00, a bit beyond my price range but still less than the book attracts in online bookstores. The price reflects the book’s rarity, for only a few copies are available. I had seen a few illustrations before, but not the originals … until now.

The video shows a number of illustrations from the book not seen in this post. The portrayals of Jane Austen’s characters were painted by the author from life. Her sitters were either friends and acquaintances, or Jane Austen’s descendants or people associated with her! You can read their names below the title of the characters.

Part one of the book includes ‘Jane Austen’s Family in Silhouette’, a table showing Jane Austen’s Family and Chronology of Events During her Lifetime’ (written by Peggy Hickman), and Jane Austen’s family tree.

Part two includes an introduction and a discussion of Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey and Persuasion.

Silhouette of Mrs. Gardiner

Alas, I do not know who successfully bid for the book in the silent auction or what it went for. Does anyone know?

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Inquiring readers: While I am at JASNA’s meeting in NYC this weekend, I leave you with this delightful description of Catherine Morland as a very young girl. I have often wondered how much Jane Austen described her own character. After all, she lived with a house full of boys and must have played cricket with them and slid down the slope behind Steventon Rectory during the snow! Interestingly, Jane Austen wrote the description in one long paragraph, which my images break up. I love the tongue-in-cheek quality of her depiction of Catherine, yet she manages to describe exactly what a young lady’s accomplishments OUGHT to be.

**A family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number. (Portait of Sir William Young and family, Johann Zoffany.) Walker Art Gallery

Description of Catherine Morland

A family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number; but the Morlands had little other right to the word, for they were in general very plain, and Catherine, for many years of her life, as plain as any. She had a thin, awkward figure, a sallow skin without color, dark, lank hair, and strong features,— so much for her person. And not less unpropitious for heroism seemed her mind.

Embroidered 18th century handkerchief. “The ball once struck off, Away flies the boy, To the next destind post, And then home with joy.” *Image @CNN

She was fond of all boys’ plays, and greatly preferred cricket, not merely to dolls, but to the more heroic enjoyments of infancy, — nursing a dormouse, feeding a canary-bird, or watering a rose-bush. Indeed, she had no taste for a garden; and if she gathered flowers at all, it was chiefly for the pleasure of mischief, — at least so it was conjectured, from her always preferring those which she was forbidden to take. Such were her propensities. Her abilities were quite as extraordinary.

Girl sketching, by Henry Raeburn. c. 1811 Image @Sudley House

Catherine Morland’s Accomplishments

She never could learn or understand anything before she was taught; and sometimes not even then, for she was often inattentive and occasionally stupid. Her mother was three months in teaching her only to repeat the “Beggar’s Petition;” and after all, her next sister, Sally, could say it better than she did. Not that Catherine was always stupid,— by no means: she learnt the fable of “The Hare and many Friends” as quickly as any girl in England. Her mother wished her to learn music; and Catherine was sure she should like it, for she was very fond of tinkling the keys of the old forlorn spinnet; so, at eight years old, she began. She learnt a year, and could not bear it; and Mrs. Morland, who did not insist on her daughters being accomplished in spite of incapacity or distaste, allowed her to leave off. The day which dismissed the music-master was one of the happiest of Catherine’s life. Her taste for drawing was not superior; though whenever she could obtain the outside of a letter from her mother, or seize upon any other odd piece of paper, she did what she could in that way, by drawing houses and trees, hens and chickens, all very much like one another.

Dancing Masters Ball, 1794, Isaac Cruikshank. Childrens balls were arranged so that children could practice their dancing lessons. Image: Courtesy of Yale University, Lewis Walpole Digital Image Library Call Number 794.8.27.1

Writing and accounts she was taught by her father; French by her mother: her proficiency in either was not remarkable, and she shirked her lessons in both whenever she could. What a strange, unaccountable character!— for with all these symptoms of profligacy at ten years old, she had neither a bad heart nor a bad temper; was seldom stubborn, scarcely ever quarrelsome, and very kind to the little ones, with few interruptions of tyranny; she was moreover noisy and wild, hated confinement and cleanliness, and loved nothing so well in the world as rolling down the green slope at the back of the house.

Below: Catherine as I envision her when she meets Henry Tilney


Head of a girl
Louise Elisabeth Vigée Le Brun

Citations:
*Did baseball begin in 18th-century England?, By Simon Hooper, CNN, June 9, 2010 8:29 a.m. EDT

**A portrait of Sir William Young and his large family shows a picture of 18th century wealth in a fashionably bucolic setting. A “conversation piece”, this depiction was meant to tell a story. The artist, Johann Zoffany, helped develop this type of piece, positioning the sitters as if they are actors. The family is wearing a type of fancy dress, 17th century costumes inspired by century-old portraits by Sir Anthony Van Dyck . This type of nostalgia was extremely popular in Britain around 1770.  Michael Henry Adams, A Queen for Today! Huffington Post, April 22, 2009.

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Inguiring readers, I literally SWOONED when I received a review copy of Emma: An Annotated Edition edited by Bharat Tandon. Readers of this blog know how much I have cherished this annotated series of Jane Austen’s novels by Harvard University Press. Click here for my review about the Annotated Pride and Prejudice and here for the Annotated Persuasion.

Lushly Illustrated Jane Austen Annotated Edition

Foremost, the books are lushly illustrated, beautifully produced, and well-researched by known Jane Austen scholars. Jane Austen Emma: An Annotated Edition is no exception. Considering the beautiful package, the book is very reasonably priced at $35 U.S., a perfect gift for the Janeite or historian in your family. Jane Austen Emma: Annotated Edition begins with a comprehensive introduction by Bharat Tandon, an academic, writer, and reviewer, who has lectured at the Universities of Cambridge and Oxford and specializes in teaching British literature after 1700 and American literature after 1900.

Emma is the only novel Jane Austen named after her heroine. Although she was fond of this eponymous character, she did not foresee Emma becoming a general favorite with the reading public, saying, ‘I am going to take a heroine whom no one but myself will much like.’ Truth be told, I’ve never quite warmed up to Emma Woodhouse, but in relation to 99% of the novels I’ve read my dislike is minor.

Annotated and Scholarly Insights on Emma

Her father, Mr. Woodhouse, on the other hand, has completely won me over with his odd, endearing hypochondriac ways, encouraging Mrs. Bates to eat a soft boiled egg and a very little bit of apple-tart, and a small half glass of wine put into a tumbler of water, for instance. Later in the novel, Mr. Woodhouse engages in a discussion with Frank Churchill about the room at the Crown, in which Frank tries to reassure the older man that the room reserved for the ball will be so large that there would be no occasion to open the windows and let in cold air upon heated bodies. Mr. Woodhouse nearly goes apoplectic at the thought, for both men are convinced that sweaty bodies should not be exposed to fresh air, a concept wonderfully explained by Tandon, who quotes The Code of Health and Longevity by John Sinclair (1807) as an explanation. Then there is this quote:

They were stopping, however, in the first place at Mrs. Bates’s; whose house was a little nearer Tandalls than Ford’s; and had all but knocked, when Emma caught their eye. – Immediately they crossed the road and came forward to her;”

I was delighted to discover that Jane Austen’s use of ‘catching an eye’ was one of the earliest citations of that particular use of that phrase in the OED, which cited Pride and Prejudice in the instance when Darcy catches Elizabeth’s eye and withdrew his own.

“The Linen Draper” from The Book of English Trades; and Library of the Useful Arts (London: Richard Phillips, 1818). (Image in the book)

Tandon discusses the meaning of making an entrance, the etiquette of dinner seating, square pianos, the plight of governesses, and so forth, and while I have seen some of the illustrations quite a few times before, such as the two that sit in this post, the author chose many that are new to me and add to my visual repertoire. Annotated books are such treasures for the serious reader of Jane Austen’s novels, explaining her words and old-fashioned idioms and making long dead customs come alive. This generously illustrated annotation from Harvard University Press both instructs and entertains with its running commentary along the margins, enhancing our enjoyment of one of Jane Austen’s most perfectly realized novels.

An Assembly Ball, plate 10 from the series “The Comforts of Bath”
1798, Colored aquatint. Image @Davis Museum and Cultural Center, Wesley College. (Image in the book)

Jane Austen Emma: An Annotated Edition is well worth the purchase.

I give this new addition to the Harvard University Press annotated Jane Austen novels five out of five regency teacups.

Purchase information: Harvard University Press

HARDCOVER

$35.00 • £24.95 • €31.50

ISBN 9780674048843

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