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Category: Jane Austen

For once not talking about Regency clothes but what happens when you take on all of an author’s books in a short period of time. I attended an Austen discussion group recently where someone mentioned, having read four Austen books in a row, that she was tired of “the stuff”–balls, dances, who was going where with whom, and so on.

I’ve been a victim of this recently, reading with great enjoyment [brief digression to dispose of a mosquito the size of my head followed by burial at sea in bathroom] almost all the books in a series of of mysteries set in England, written by an American author.

What does happen [sorry about the mosquito digression] is that you start to notice the nervous tics, minor obsessions etc. of the writer. Unlike Austen, whose “stuff” is the gears that drive the novel, other writers’ “stuff” may be annoying or endearing. This author is fixated on English sandwiches, the sort sold just about everywhere in triangular packages. They are smaller and more compact than their US counterparts with modest but tasty fillings. The closest thing we have here are those sold by Pret A Manger (a chain that originated in London). Yum.

Now that I don’t mind. I’m quite happy to read about food, and possibly, it’s not too intrusive since the characters tend to chow down and discuss the case. What does bug me about this particular author is that every character introduces themselves in this way: “By the way, I’m …” Really? Do English people do that all the time?

Mysteries seem rather vulnerable to “stuff,” particularly kneejerk descriptions of what characters are wearing, even for cameo appearances. Whether it’s a bizarre reader expectation or an editor demanding a description of some sort, it can be distracting. I read a book some decades ago,  where the action was halted dramatically by sartorial details–memorably, after a gunman burst through a glass door, we were treated to a description of what he was wearing before the action resumed.

Dedication by Janet MullanyMy own writerly nervous tics include huge amounts of tea drinking, leaning on mantelpieces, heroes in tears, and they’re all there in the revised version of my first book Dedication which I self pubbed a few days ago. Filthy and affordable, what more could you ask for? Buy the Kindle version here.

Are you aware of writerly “stuff” as you read? Does it annoy you or do you just accept it as part of the book?

First, let me congratulate Vona! You’ve won an ebook of your choice of my titles (see the list at my Risky Books page). I’ll be sending you an email. If you don’t receive it for any reason, feel free to email me at elena @ elenagreene.com (no spaces).

Now to today’s post.

jabenchOnce again Jane Austen’s making the rounds in the news and social media.

Mary Balogh shared this image of the Pride and Prejudice Bookbench in the “Books About Town” series. More on the P&P bench here and the whole series here.

While I love the idea, I agree with Mary Balogh that this particular bench could have been better executed. I don’t object to the cartoony style overall, but it feels a little too crude for me, the layout feels a bit random and why don’t we get an image of Darcy? I love many of the other benches (Mrs Dalloway, Peter Pan and more) so I wish this one were as good.

janeHere’s something I did like. The Jane Austen Centre has just unveiled a new waxwork of Jane Austen, said to be based on forensic research and contemporary eyewitness accounts. I was a little surprised to see the gingery hair. The description says it’s brown so I wonder if it’s the lighting. The nose definitely looks Austen-ish. (I remember reading that Jane’s mother prided herself on her Roman nose.) And she looks intelligent and in possession of a good sense of humor, which feels right. Read more about the waxwork here.

So what do you think of the Pride and Prejudice Bookbench? Did you like any of the others? How about the Jane Austen waxwork?

Elena
www.elenagreene.com

Elegant Extracts in Prose title page

Elegant Extracts in Prose title page

In Jane Austen’s Emma, Harriet Smith tells Emma that her beau, tenant farmer Robert Martin is, indeed well-read.  

“Oh, yes! that is, no — I do not know — but I believe he has read a good deal — but not what you would think any thing of. He reads the Agricultural Reports and some other books, that lay in one of the window seats — but he reads all them to himself. But sometimes of an evening, before we went to cards, he would read something aloud out of the Elegant Extracts — very entertaining. And I know he had read the Vicar of Wakefield. He never read the Romance of the Forest, nor the Children of the Abbey. He had never heard of such books before I mentioned them, but he is determined to get them now as soon as ever he can.”

Elegant Extracts in Prose and the companion anthology, Elegant Extacts in Verse, were collated by Vicesimus Knox  (1752-1821)  who was the Headmaster of Tonbridge School in Kent and was famous for his liberal, enlightened views on education which were influenced by the teachings of John Locke.

Vicesimus Knox

Vicesimus Knox

His book Liberal Education (1781) has some interesting points to make about education, and he was particularly scathing about the shortcomings of the state of university education in the late 18th century.

He had attended Oxford from 1771 –1778 and seems to have disapproved of the somewhat immoral regime there. He asserted in his book, that

to send a son to either university without the safeguard of a private tutor would probably “make shipwreck of his learning, his morals, his health and his fortune.”

He suggested reforms to the university system in his pamphlet A Letter to Lord North, which Knox addressed to the Oxford Chancellor in 1789. This pamphlet suggested the intervention of Parliament, and advocated a stricter discipline, a diminution of personal expenses, the strengthening of the collegiate system, an increase in the number of college tutors, the cost to be met by doubling tuition fees and abolishing “useless” professors, with confiscation of their endowments. College tutors were to exercise a parental control over their pupils, and professors not of the “useless” order were to lecture thrice weekly in every term, or resign

Here is an extract from one of his essays: On the Spirit of Despotism (1795):

Ignorance of the grossest kind, ignorance of man’s nature and rights, ignorance of all that tends to make and keep us happy, disgraces and renders wretched more than half the earth, at this moment, in consequence of its subjugation to despotic power. Ignorance, robed in imperial purple, with pride and cruelty by her side, sways an iron sceptre over more than one hemisphere. In the finest and largest regions of this planet which we inhabit, there are no liberal pursuits and professions, no contemplative delights, nothing of that pure, intellectual employment which raises man from the mire of sensuality and sordid care, to a degree of excellence and dignity, which we conceive to be angelic and celestial. Without knowledge or the means of obtaining it, without exercise or excitements, the mind falls into a state of infantile imbecility and dotage; or acquires a low cunning, intent only on selfish and mean pursuits, such as is visible in the more ignoble of the irrational creatures, in foxes, apes, and monkies. Among nations so corrupted, the utmost effort of genius is a court intrigue or a ministerial cabal.”

In all, he sounds rather like the type of teacher of whom George Austen would have approved. Possibly, the Extracts were part of his library at Steventon  and were used to prepare Rev. Austen’s pupils for entry to public school. Certainly Jane Austen may have read them herself, or at least knew of the Elegant Extracts in Verse. In her comic poem “I’ve a pain in my head” (written as an account of her visit to Mr Newnham an apothecary with a relation of her brother Edward’s tenants in Chawton), she parodies a poem entitled “The Doctor and the Patient” which is to be found in Knox’s books.

The prose books were collections of essays from publications such as the Rambler, Spectator and the Idler and also contain extracts from works by leading modern authors such as Gilpin , Swift, the Scot Hugh Blair, French philosophers such as Voltaire and classical authors such as Pliny

The books were used a standard texts is schools for years. Indeed, this was the use for which Knox explicitly intended for his books, for he believed in the reading of fiction as a means of exercising the imagination and critical and creative thought.

The books “are calculated for classical schools, and for those in which English only is taught.” The extracts “may be usefully read at the grammar schools, by explaining everything grammatically, historically, metrically and critically, and then giving a portion to be learned by memory” (From the preface of  Extracts in Verse).

In 1810 Wordsworth wrote that Elegant Extracts in Verse ‘is circulated everywhere and in fact constitutes at this day the poetical library of our Schools.”

In 1843, Robert Chambers, introducing his own Cyclopaedia of English Literature says it will take the place of Knox’s Extracts which, “after long enjoying popularity as a selection of polite literature for youths between school and college has now sunk out of notice.”

The three volumes of Vicesimus Knox’s anthologies were both expensive and popular: Elegant Extracts in Prose (1783), and Elegant Extracts in Verse (c. 1780) had each at least 15 editions, and Elegant Epistles (1790) had at least 10. Each volume was issued in an abridged form, but in only one or two editions. The unabridged volumes had each about 1000 pages and sold for five guineas. Which was a considerable amount in the late 18th and early 19th century.

So what does this tell us about Robert Martin who reads these books? That he might be better read than Harriet and, quite possibly, Emma. It is so typical of Emma that the girl who can make fine reading lists but never completes her task, is able to dismiss a man who, even though he reads only extracts of works, is probably much better read than herself.

Another point to bear in mind is that he, or at least his family, is prepared to spend quite large amounts of money on books, even though their income would not match Emma’s.

It is interesting that Jane Austen provides a little insight into Robert Martin’s depth of understanding by letting us know that he reads such books as these. It seems to me that she probably approved of this young gentleman, trying to improve himself by extensive reading such books as came his way.

 

 

 

Are you watching Emma Approved? The people who brought you the wildly popular Lizzie Bennet Diaries and the ill-conceived Welcome to Sanditon have taken on Jane Austen’s Emma and are 56 web episodes into a modernization of the story. Although I don’t feel Emma Approved has the appeal of the Lizzie Bennet Diaries, it’s doing a pretty good job of moving the story into the 21st Century.  There’s a good cast. Alex Knightley is pretty fanciable.  Maddie Bates is hilarious. Harriet Smith is an excellent combination of shy and aspirational (and I’m waiting for Robert Martin to come back).

The sticking point for me is Emma Woodhouse. I know she’s a character of whom Jane Austen said, “I am going to take a heroine whom no one but myself will much like.” If I recall my first reading of the book, I thought she was right. I didn’t like Emma very much. But she grew on me, through the course of the book and through each subsequent reading. I’ll admit that she’s not Jane Austen’s most likable heroine. I’m guessing that’s Lizzy Bennet (raise your hands). Apart of Lady Susan, whom we really can’t identify as a heroine, she might very well the least likable. (Although my vote here goes to Marianne Dashwood.)

But Emma Approved Emma is not really growing on me. Perhaps its because she’s too perky. Perhaps it’s because she hasn’t been brought low yet. Perhaps its the actress. I really want to like her. I like what’s being done with this adaptation. I keep watching in the hope that she’ll pull it out yet (and because I think Alex Knightley is adorable). So… what about you? Are you watching? Does it work for you? Do you have reservations? Have you seen the preceding Web series (I refuse to call them “webisodes.)

After Jane Austen’s dealings with James Stanier Clarke, secretary to the Prince Regent, she wrote The Plan of a Novel, which I will include in its entirety right here.

greenjane90SCENE to be in the Country, Heroine the Daughter of a Clergyman, one who after having lived much in the World had retired from it and settled in a Curacy, with a very small fortune of his own. — He, the most excellent Man that can be imagined, perfect in Character, Temper, and Manners — without the smallest drawback or peculiarity to prevent his being the most delightful companion to his Daughter from one year’s end to the other. — Heroine a faultless Character herself, — perfectly good, with much tenderness and sentiment, and not the least Wit — very highly accomplished, understanding modern Languages and (generally speaking) everything that the most accomplished young Women learn, but particularly excelling in Music — her favourite pursuit — and playing equally well on the PianoForte and Harp — and singing in the first stile. Her Person quite beautiful — dark eyes and plump cheeks. — Book to open with the description of Father and Daughter — who are to converse in long speeches, elegant Language — and a tone of high serious sentiment. — The Father to be induced, at his Daughter’s earnest request, to relate to her the past events of his Life. This Narrative will reach through the greatest part of the first volume — as besides all the circumstances of his attachment to her Mother and their Marriage, it will comprehend his going to sea as Chaplain to a distinguished naval character about the Court, his going afterwards to Court himself, which introduced him to a great variety of Characters and involved him in many interesting situations, concluding with his opinions on the Benefits to result from Tithes being done away, and his having buried his own Mother (Heroine’s lamented Grandmother) in consequence of the High Priest of the Parish in which she died refusing to pay her Remains the respect due to them. The Father to be of a very literary turn, an Enthusiast in Literature, nobody’s Enemy but his own (this is a quote from J. S. Clarke’s letter of Nov. 16, 1815— at the same time most zealous in discharge of his Pastoral Duties, the model of an exemplary Parish Priest. — The heroine’s friendship to be sought after by a young woman in the same Neighbourhood, of Talents and Shrewdness, with light eyes and a fair skin, but having a considerable degree of Wit, Heroine shall shrink from the acquaintance.

g-novelFrom this outset, the Story will proceed, and contain a striking variety of adventures. Heroine and her Father never above a fortnight together in one place, he being driven from his Curacy by the vile arts of some totally unprincipled and heart-less young Man, desperately in love with the Heroine, and pursuing her with unrelenting passion. — No sooner settled in one Country of Europe than they are necessitated to quit it and retire to another — always making new acquaintance, and always obliged to leave them. — This will of course exhibit a wide variety of Characters — but there will be no mixture; the scene will be for ever shifting from one Set of People to another — but All the Good will be unexceptionable in every respect — and there will be no foibles or weaknesses but with the Wicked, who will be completely depraved and infamous, hardly a resemblance of humanity left in them. — Early in her career, in the progress of her first removals, Heroine must meet with the Hero — all perfection of course — and only prevented from paying his addresses to her by some excess of refinement. — Wherever she goes, somebody falls in love with her, and she receives repeated offers of Marriage — which she refers wholly to her Father, exceedingly angry that he should not be first applied to. — Often carried away by the anti-hero, but rescued either by her Father or by the Hero — often reduced to support herself and her Father by her Talents and work for her Bread; continually cheated and defrauded of her hire, worn down to a Skeleton, and now and then starved to death. — At last, hunted out of civilized Society, denied the poor Shelter of the humblest Cottage, they are compelled to retreat into Kamschatka (a peninsula in eastern Russia)  where the poor Father, quite worn down, finding his end approaching, throws himself on the Ground, and after 4 or 5 hours of tender advice and parental Admonition to his miserable Child, expires in a fine burst of Literary Enthusiasm, intermingled with Invectives against holders of Tithes. — Heroine inconsolable for some time — but afterwards crawls back towards her former Country — having at least 20 narrow escapes from falling into the hands of the Anti-hero — and at last in the very nick of time, turning a corner to avoid him, runs into the arms of the Hero himself, who having just shaken off the scruples which fetter’d him before, was at the very moment setting off in pursuit of her. — The Tenderest and completest Eclaircissement takes place, and they are happily united. — Throughout the whole work, Heroine to be in the most elegant Society and living in high style. The name of the work not to be Emma, but of the same sort as S. & S. and P. & P.

I love this plan, not only because it is Jane Austen returning to the broad parody of her youth, but because it looks so darned familiar. Surely we all have read this plot in one form or another. Perhaps not all of the (repeated) twists and turns related here, but parts of it can be found wherever we read:

  • Mary Jane: Jane Austen has given us not only the perfect heroine but an equally perfect father and, without a doubt, a perfect hero.  (All the Good will be unexceptionable in every respect — and there will be no foibles or weaknesses) Unfortunately, the heroine is also is TSTL. (Heroine a faultless Character herself, — perfectly good, with much tenderness and sentiment, and not the least Wit.)
  • Back story: It looks like the first third of this novel will be devoted to the father’s life as, of course, we all need to know this before we get to the actual tale.
  • Ruthless and irredeemable villains: As bad as the hero and heroine (not to mention her father) are good, so are the multitude of villains bad. (the Wicked, who will be completely depraved and infamous, hardly a resemblance of humanity left in them)
  • Lots of action: This father/daughter duo will have landed in most of the European countries and finished off in the easternmost part of Russia, all the while being hounded by the numerous villains. Hannah Howell characterizes the middle of all her synopses as “Then they fight their way across France.” I think that would apply very well to this plan.
  • The irresistible heroine: Not only is our heroine, all goodness and perfection, she’s so lovely men can’t stay away from her. (Wherever she goes, somebody falls in love with her, and she receives repeated offers of Marriage). 
  • Heroine in peril: Lots of kidnapping, endangerment and, apparently starvation. (Often carried away by the anti-hero, but rescued either by her Father or by the Hero — often reduced to support herself and her Father by her Talents and work for her Bread; continually cheated and defrauded of her hire, worn down to a Skeleton, and now and then starved to death. — At last, hunted out of civilized Society, denied the poor Shelter of the humblest Cottage) 
  • Deathbed explanation and blessing:  We have to get rid of the father, otherwise our heroine will be carting him around Europe for the rest of her life. (the poor Father, quite worn down, finding his end approaching, throws himself on the Ground, and after 4 or 5 hours of tender advice and parental Admonition to his miserable Child, expires in a fine burst of Literary Enthusiasm, intermingled with Invectives against holders of Tithes.) 
  • Felicitous and unexpected appearance of the hero in the nick of time: Of course. How are we going to get our HEA if the hero doesn’t get over himself and come looking for the heroine. (and at last in the very nick of time, turning a corner to avoid him, runs into the arms of the Hero himself, who having just shaken off the scruples which fetter’d him before, was at the very moment setting off in pursuit of her.)

How little has changed in the writing of novels, and particularly romance, that we see satirized here.

Doesn’t it make you want to go out and try it for yourself?

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