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The Jane Austen Society of Australia << Back to Sensibilities: Index of articles
Extracts from Sensibilities
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Jane Austen’s Men: St George and the Dandy in Jane Austen’s Emma
On 29 September 1914, there appeared in The Evening News one of the most momentous documents relating to the legend of St George, the patron saint of England. This was Arthur Machen’s brief tale ‘The Bowmen’, recounting how St George brought ‘the ancient archers of Agincourt to the rescue of a modern British army during the retreat before the Germans at Mons …a few days after the battle’ (xiii). As one critic notes: ‘It immediately created a sensation, for people who were at the beginning of a war that was then going against them were eager for a miracle. They seized upon Machen’s invented tale and insisted that it was true’... At the same time, another cultural force was at work, described by Elaine Showalter discussing the late 19th century. She stated that the period was marked by a ‘crisis of masculinity’ in society:
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The Men in the Background
Every student of acting knows a version of the story about the drama competition in which the prize for best actor went to the ‘third spear-carrier from the left’. It is the story that reinforces the belief that there is no such thing as a small role because the audience’s willing suspension of disbelief relies on the total picture. No matter how brilliant the leading actor may be, if in the middle of his most important speech, the spear-carrier sneezes or shuffles or waves to Aunty Maude, the audience will not be able to maintain its focus. The same is true of the minor characters in a novel. If they do not go about their business naturally and unobtrusively how can the author hope to convince the reader of the authenticity of the world he is creating? This paper is dedicated to the spear-carriers in the Austen novels – those characters who never appear except perhaps to open a door or be present at a party; who live at a distance and are spoken of but never seen; who are neighbours or relations or friends; members of the larger community who help the world of the novel to function but who never have a line of dialogue. So let us look at the way in which Austen uses the literary device of the man in the background to enrich her work... ... and to read more, join JASA and receive your twice-yearly copy of Sensibilities free.
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Who Is Henry Tilney and Why Do We Love Him?
Henry Tilney is a young clergyman, from a good family in Gloucestershire. He is four or five and twenty, rather tall, with a pleasing countenance, a very intelligent and lively eye, and, if not quite handsome, very near it. His address is good. (p.25) Catherine describes him to Isabella as having ‘a brown skin, with dark eyes, and rather dark hair.’ (p.43) He is a younger son, but unusually for the breed, is well off. General Tilney says Henry is ‘of a very considerable fortune’ with an income of ‘independence and comfort’ from marriage settlements, which we assume are from his rich mother. As well as this he has the family living of Woodston, which General Tilney says just by itself would keep him comfortable. We don’t get the actual cash details, but it is clear that even though Henry isn’t the heir to Northanger Abbey, he has enough money to live well, and, importantly, be independent of his controlling father. So why do we love Henry Tilney?... ... and to read more, join JASA and receive your twice-yearly copy of Sensibilities free.
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Introducing Mr Woodhouse
Many years ago Professor Joe Wiesenfarth came to talk about ‘Civility in Emma’ at one of our conferences. He was discussing Mr Woodhouse and when asked how on earth Mr Woodhouse had managed to father two children, Joe replied that if JASA invited him to come and speak again, he would tell us. We did invite Joe back to Australia and, inevitably, a member of the audience reminded him that he had promised to tell us how Mr Woodhouse had ever managed to procreate. There was a long silence. Then Joe replied, ‘Haven’t you heard of Viagra?’ I think it took at least ten minutes before the audience recovered enough for the conference to continue. It was, of course, Jane Austen’s intention that we should laugh over Mr Woodhouse. He is one of her greatest comic creations. We meet Mr Woodhouse in the first chapter of Emma. Miss Taylor has married and Emma and her father sit forlornly at Hartfield. Emma, we are told,
We are then informed that the evil of the actual disparity in their ages (and Mr Woodhouse had not married early) was much increased by his constitution and habits; for having been a valetudinarian all his life, without activity of mind or body, he was a much older man in ways than in years; and though everywhere beloved for the friendliness of his heart and his amiable temper, his talents could not have recommended him at any time.2 There is an interesting contradiction within these lines. Mr Woodhouse is ‘everywhere beloved’, and yet has nothing whatever to recommend him... ... and to read more, join JASA and receive your twice-yearly copy of Sensibilities free.
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In Defence of Colonel Brandon
At the conclusion of Sense and Sensibility Marianne Dashwood who, as Austen tells us, was ‘born to an extraordinary fate’ (S&S p.321), marries Colonel Brandon. She is 19. He is on the wrong side of five and thirty (ibid p.30), old enough to be her father, and, worst of all, he still seeks the ‘constitutional safeguard of a flannel waistcoat’ (ibid p.321). There have always been readers who have found the ending disappointing – rather a letdown for Marianne Dashwood. Surely she could have done better. Surely Jane Austen could have given her someone younger, more dashing, and more charismatic than this respectable but sombre man, whom she weds out of friendship and esteem rather than passion. However Austen clearly knew what message she wished to convey about the nature of a happy marriage based on lasting love... ... and to read more, join JASA and receive your twice-yearly copy of Sensibilities free.
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Work-tables and Work-boxes in Georgian England
In pondering her moral dilemma regarding the proposed home theatricals at Mansfield Park, Fanny Price worried that ‘the table between the windows was covered with work-boxes and netting-boxes, which had been given to her at different times, principally by Tom; and she grew bewildered as to the amount of the debt which all these kind remembrances produced’.1 This scene prompted me to enquire: What sort of work-boxes did Fanny own? What was her work-table like? Answers to these questions form the basis of this paper on work-boxes and work-tables in Georgian England. Although the Georgian period lasted from 1714 to 1830, we ignore the first 60 years, as work-tables were unknown before 1770 and work-boxes before 1790... ... and to read more, join JASA and receive your twice-yearly copy of Sensibilities free.
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Jane Austen’s Lifelong Health Problems and Final Illness
New analysis points to a fatal Hodgkin’s disease and excludes
the widely accepted Addison’s The spectre of disease and early death hung over Jane Austen in the final two years of her life, as she continued to work on her novels, whilst her body weakened and wasted and ultimately failed her at the age of 41. The nature of her illness had baffled her medical advisors, and still remains a subject of controversy. Current medical opinion, biographers and encyclopaedic reference [following Zachary Cope, ‘Jane Austen’s Last Illness.’ Reprinted from BMJ July 1964. In: Jane Austen Society Collected Reports (1949-65): v.1. Alton, 267-72] all lean towards a diagnosis of Addison’s disease, which involves destruction of the adrenal glands, but other medical opinion surmises that Jane may have been suffering from Hodgkin’s disease, a form of cancer. Both diseases were unidentified and untreatable in Austen’s lifetime, and the outcome was always fatal... ... and to read more, join JASA and receive your twice-yearly copy of Sensibilities free. |
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