A tale of the pain and peril of human isolation not quite overcome, a modern book: Persuasion. Better known and somewhat misunderstood as a story of reprieve & retrieval: joy snatched from a descent into ever-increasing age, illness and death. But really a book of a revenant made human, of deep emotional pain & exhaustion. The latest Oxford reissue (2008) is a good buy for the type book, a half-way house between the rich apparatus type books (Nortons, Longmans, Broadviews) and those which accompany the text with a minimal introduction or afterward (Signet, Barnes & Noble). It includes the appendix, Austen and the Navy by Vivien Jones found in the 2008 Oxford Mansfield Park, where Jones corrects and adds information ignored in Austen’s idealized depiction of the navy; and also Henry Austen’s biographical notice first published in 1817 with the dual posthumous edition of Northanger Abbey and Persuasion; and the cancelled chapters or Austen’s first version of an ending for Persuasion. I assume many readers will immediately see the use of such an appendix, and importance of Henry’s biography (albeit brief and impossibly hagiographic), but might perhaps think these cancelled chapters are superfluous to anyone but the scholarly student of Austen. Not so. They contain passages which suggest how Austen might have worked the book up to three volumes had she lived: for example, the Crofts seem to know that their brother had been engaged to Miss Anne Elliot, and be working to bring them together. They have the potential (more…)
Emma. The book of books. A remarkable novel where when a story or character suggestively goes through Emma’s mind since she half-gets it wrong, and sees it partially, we are invited to imagine it whole—so one novel becomes many in potential. Like all the other latest Oxfords, the text here is a reprint of the 1971 text edited by James Kinsley (basically an emended reprint of Chapman’s 1923 text as revised by Mary Lascelles). As with Pride and Prejudice, there is no alternative first text as there is no manuscript and Austen died before a second edition could even be thought of. Like latest reprints of Sense and Sensibility and Pride and Prejudice, we also get exactly the same supplemental materials: brief biographical note, bibliography, chronology, and (by Vivien Jones) appendices on rank and social status and on dancing. The notes are a reprint of the 2003 notes Adele Pinch wrote. Adela Pinch’s introduction to the latest 2008 Oxford reprint of Emma emphasizes how different Emma seemed to most novels to readers of the era; Pinch tells us how bored Edgeworth said she felt in a letter to a friend. Since it was Austen who sent a copy of her book to Edgeworth (probably out of pride in an achievement), I, for one, prefer to assume this comment never got round to Austen. Not that Austen is herself shy of criticizing other novelists harshly or (at least in her letters to her sister) at all unsure of the high and (more…)
Mansfield Park by Jane Austen While I’m not sure we really know how Mansfield Park rates among groups of readers, and there is evidence to suggest that like the other four novels beyond Pride and Prejudice, this one pleases slightly different subgroups of among Austen wide and varied audience, I was relieved to find that the 2008 reissue of Mansfield Park begins with a fine essay by Jane Stabler, who, while concentrating on social issues and psychology, also empathizes with its heroine’s drama of consciousness; like Margaret Anne Doody in the 2008 reissue of Sense and Sensibility, she makes a strong lucid case for regarding the novel as a radical critique of Austen’s society. Unlike the Oxford Pride and Prejudice, the 2008 MP is tailored to the specific volume. So beyond the usual appendices by Vivien Jones about rank and status in the era, and explicating dances literally and as metaphors, there is a useful brief essay on Lovers’ Vows which makes clear some of the parallels between Inchbald’s charaMP and Lovers Vows, and an appendix on the Navy, which corrects and adds information ignored in Austen’s idealized depiction of the Navy. The explanatory notes are very thorough, essays in themselves sometimes, and there is the usual brief biography, bibliography and note on the text. As with the new Penguin edition of S&S (where Ros Ballaster reprints the 1811 text which is not bowlderized as is the 1813), in the new Penguin MP, a decision has been made to print (more…)
Pride and Prejudice By Jane Austen A Review by Ellen Moody Gentle readers, here we are again, with diptych reviews of what turns out to be a reissue by Oxford in 2008 of its 2004 edition of Pride and Prejudice. I have complemented Laurel Ann’s review (from Austenprose). Laurel Ann’s review will give an overview of the novel, while I will focus on this particular edition and Pride and Prejudice’s overall popularity. As before, I must agree with Laurel: the latest Oxford Pride and Prejudice is not quite as good a buy as the latest Oxford Sense and Sensibility. The two have exactly the same supplemental materials: brief biographical note, bibliography, chronology, and (by Vivien Jones) appendices on rank and social status and on dancing. The difference is the introduction and explanatory notes are by Fiona Stafford. So this Oxford half-way house series (half-way between those series which have an overload and those which have too bare an apparatus) does not tailor each edition to the specific novel. The publisher may assume their readers will not buy all six books, but the reader minded to do so will buy the same supplementary materials six times . Fiona Stafford’s explanatory notes are full and very helpful; but her introduction is disappointing because much of it (to be fair, not all), and its central perspective rehashes the many times previously-discussed theme of misleading first impressions, preconceived judgements, and slow self-recognition, for which (to take just one previous example), Tony Tanner’s essay provides (more…)
Sense and Sensibility By Jane Austen Introduction by Margaret Anne Doody Review by Ellen Moody I was delighted when Laurel of Austenprose asked me to join her in writing reviews of the recent reprint of the Oxford standard editions of Austen’s novels. I’d get to gaze at the different covers, read introductions, notes, appendices, and if any were included, illustrations. As you might have guessed, I’m one of those who partly chooses to buy a book based on its cover. I enjoy introductions (occasionally more than the story they introduce), get a kick out of background maps and illustrations, and especially ironic notes. Looking into the matter I discovered I’d have to sleuth what if anything was the difference between these new reprints and the earlier reprints of James Kinsley’s 1970-71 edition, from which all the subsequent Oxford texts have been taken. Why after examining the early texts did Kinsley made the choice to reprint R. W. Chapman’s 1923 edition of Austen’s novels with some emendations? Hmm. My curiosity made me unable to resist checking the Oxfords against the other editions of Austen’s novels I own. In the case of Austen’s Sense and Sensibility, a novel I first read when I was 13 and the one closest to my heart, I own 14 different editions and reprints, and French and Italian translations. The more cynical and less devoted reader of Austen may well say, wait a minute here. What would be the point or interest, since probably the differences in (more…)
“Bath is a charming place, sir; there are so many good shops here. We are sadly off in the country. . . . Now, here one can step out of doors, and get a thing in five minutes.” Northanger Abbey Jane Austen’s first entrance into Bath was facilitated by a visit to her Uncle and Aunt, James and Jane Leigh-Perrot. Wealthy and childless, Uncle James was the older brother of Cassandra Leigh Austen, Jane Austen’s mother. In a turn of events, not unlike what would later happen to Austen’s own brother, Uncle James inherited a fortune from another childless relative. Upon inheriting the Northleigh Estate (which was promptly demolished and sold) James added the surname of his late Uncle Perrot to his last name, becoming James Leigh-Perrot. He then went on to build a new home in Berkshire, which he named “Scarlets”. For many years the Leigh-Perrots were quite happy spending their summers at Scarlets and their winters in Bath. From their home at Number One, the Paragon, they were able to enjoy society, take the waters, and offer their nieces from Steventon a chance at seeing something of the world. Surely young Catherine Morland’s visit to Bath in Northanger Abbey is taken from Jane Austen’s own first visit there in 1797. Soon after that visit, an incident took place which would cast a pall over the Leigh-Perrots stay in the City and bring Aunt Jane into the annals of history. In August, 1799, Mrs Leigh-Perrot had stopped in at (more…)
As a result of a careful scrutiny of the calendars in Austen’s novels during which I constructed an Austen event calendar for each as part of an on-going study of her use of letters in all her novels in order to shed light on the possible origins of P&P, S&S, and even in part MPas epistolary narrative I have come across a curious and repeating pattern.
With the exception of Northanger Abbey, Austen pointedly makes certain similar kinds of pivotal events in her longer finished novels occur on a Tuesday. These events often include a snubbing or humiliation of the heroine or hero (or anti-hero or co-heroine) as a significant part of the event, and they lead to denouements or climaxes. In most of these one does not have to work out that the day is Tuesday; Austen tells you this more than once: Continue reading A Jane Austen Event Calendar
Click Here to go directly to the calendar.
Emma “works”somewhat differently from Austen’s other realistic prose narratives. Austen still exploits the differences between psychological and calendar time to pace her book and our response to it, and she paces the events of the book in a closely intertwined way with detailed references that move back and forth in time; she still introduces but one new turn at a time. However, in this book she pays attention to seasons as well as the artificial calendar, she plays hidden games with the reader, and at turn in the narrative time is allowed to seem to float free (although a study of all the references to time shows that Austen is still using her almanac to attach narratives consistently to one another across hundreds of pages. Continue reading A Calendar for Emma