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Gentle Reader, next week Austenprose will begin a Pride and Prejudice extravaganza entitled, Pride and Prejudice Without Zombies. The group will be reading Jane Austen’s own words. Not some mash up. Not a sequel. And, as far as I am concerned, my favorite book of all time. When Laurel Ann asked me to contribute my thoughts during the event, I was already researching information about Mr. Jones, the apothecary who treated Jane Bennet. So, as a pre-announcement, I am publishing this post. Do obtain a copy of Pride and Prejudice and join Laurel Ann and her readers as she begins her in-depth analysis of the book on Tuesday, June 16th.

Jane is sick, Netherfield Hall, Pride and Prejudice 2005

In 1813, the year that Pride and Prejudice was finally published, apothecaries filled an important role in rural areas where physicians were scarce. When Jane Bennet fell ill at Netherfield Park, Mr. Jones, the apothecary was sent for:

Breakfast was scarcely over when a servant from Netherfield brought the following note for Elizabeth:

“My dearest Lizzy,

I find myself very unwell this morning, which, I suppose, is to be imputed to my getting wet through yesterday. My kind friends will not hear of my returning home till I am better. They insist also on my seeing Mr. Jones therefore do not be alarmed if you should hear of his having been to me and excepting a sore throat and head-ache, there is not much the matter with me.

Yours, &c.”

Unlike a physician, whose social standing ranked high, apothecaries were considered one step up from a tradesmen, and several rungs below the physician/doctor.


This cartoon by James Gillray suggests that the Cockney in question is an apothecary. Note the mortar and pestle symbol on the side of the carriage.

Apothecaries learned how to make drugs and poultices during their tenure as apprentices. They used their hands and labored in shops, and were often the only alternative for people who sought medical care and who could not afford a doctor’s fees. Interestingly, apothecaries were not paid for giving advice or providing medical treatment. They were paid only for the drugs they sold.

Apothecary Shop, Glasgow Looking Glass

Mr. Jones, would have traveled to Netherfield Hall and dispensed his advice without recompense. But he recommended his draughts, which enabled him to earn some money, and instructed Elizabeth on how to use them:

The apothecary came and having examined his patient said as might be supposed that she had caught a violent cold and that they must endeavor to get the better of it advised her to return to bed and promised her some draughts. The advice was followed readily for the feverish symptoms increased and her head ached acutely.

Visiting an ill Jane at Netherfield, Pride and Prejudice 2005

Mrs. Bennet’s ploy to keep Jane at Netherfield, using Mr. Jones as an excuse when Mr. Bingley inquires about Jane’s condition, worked:

“Indeed I have, Sir,” was her answer. “She is a great deal too ill to be moved. Mr. Jones says we must not think of moving her. We must trespass a little longer on your kindness.”

Mr. Bennet used Mrs. Bennet’s machinations to his advantage, demonstrating his wit even as he admonished his wife for placing Jane in danger:

“Well, my dear,” said Mr. Bennet, when Elizabeth had read the note aloud, “if your daughter should have a dangerous fit of illness, if she should die, it would be a comfort to know that it was all in pursuit of Mr. Bingley, and under your orders.”

“Oh! I am not at all afraid of her dying. People do not die of little trifling colds. She will be taken good care of. As long is she stays there, it is all very well. I would go and see her, if I could have the carriage.”

As an interesting aside, one of the 3rd Earl of Stanhope’s third daughter’s eloped with the family apothecary, prompting James Gillray to draw the cartoon, Democratic Levelling: Alliance a la Francaise, The Union of the Coronet and Clyster Pipe. (A coronet is a small crown symbolizing a peer’s status and a clyster pipe was a tube used for injections). The earl was a great proponent of liberty and revolution, but this marriage sorely tested his tolerance for equality! One wonders what Mr. Bennet might have said had Jane or Lizzie run off with Mr. Jones!

At the turn of the 19th century, the practice of medicine would benefit from rapid scientific advances brought about by methodical and well-reasoned experimentation and observations. But at the height of Thomas Rowland’s and James Gillray’s satiric powers, doctors, surgeons, and apothecaries were still targets of fun. The medical field also did not fare well with popular opinion.

The Comforts of Bath, Rowlandson. At the end of the 18th Century, Bath had more doctors and apothecaries per number of citizens than any city in England.

The following humorous scene between a doctor and an author sums up the popular perception of a doctor’s swelled head. His miniscule knowledge about medicine does not detract from his exalted opinion of his social standing in relation to an apothecary’s. This passage emphasizes the point that the medical field took a back seat to poetry and criticism:

Doctor: I suppose, Sir, you are his apothecary.

Gent: Sir, I am his friend.

Doctor: I doubt it not. What regimen have you observed since he has been under your care? You remember, I suppose, the passage in Celsus, which says, “if the patient on the third day have an interval, suspend the medicaments at night. Let fumigations be used to corroborate the brain.” I hope you have upon no account promoted slernutation by hellebore.

Gent:  Sir, you mistake the matter quite.

Doctor: What! an apothecary tell a physician he mistakes! You pretend to dispute my prescription! Pharmacopola componant. Medicus folus prefabricat. Fumigate him, I say, this very evening, while he is relieved by an interval’

Dennis: Death, Sir, do you take my friend for an apothecary! A man of genius and learning for an apothecary! Know, Sir, that this gentleman professes, like myself, the two noblest sciences in the universe, criticism and poetry. By the immortals, he himself is author of three whole paragraphs in my Remarks, had a hand in my Public Spirit, and assisted me in my description of the furies and infernal regions in my Appius.

(The discussion continues.) Then the doctor says:

Doctor: He must use the cold bath, and be cupped on the head. The symptoms seem desperate. Avicen says: “If learning be mixed with a brain that is not of a contexture fit to receive it, the brain ferments till it be totally exhausted. We must endeavour to eradicate these indigested ideas out of the perieranium, and to restore the patient to a competent knowledge of himself. – Elegant Extracts, or Useful Entertaining Passages

Consultation of Physicians, Hogarth

Physicians occupied the top rung of the medical social ladder because they did not “soil” their hands by treating the patient directly, as a surgeon would. They did not accept money in public (the payment would have been made discreetly). These “learned” men attended university but did not perform autopsies or dissect cadavres. Men of breeding, they merely sat back and watched the procedure from afar.

Apothecary shop, 1719

An apothecary shop during Jane Austen’s day was much like today’s drug store, where a customer could purchase drugs, herbs, poultices, panaceas, and other medicinals. In the image from 1st Art Gallery, one can see the preparations and infusions being made in an 18th century apothecary shop. Herbs grew in an adjacent garden and substances were stored in apothecary jars and drawers. Such shops also sold surgical equipment. In this link one can view an apothecary shop in Colonial Williamsburg, much as a similar shop might have looked in Meryton.

18th century apothecary bottles made with mercury glass

Apothecaries were often the only doctors available in a rural community, and they would take their supplies with them in portable apothecary box. Mr. Jones, Jane Bennet’s apothecary, must have dispensed his solutions from a similar box.

Apothecary box

By the mid-19th century, the medical field changed drastically, including the pharmaceutical field, and medications and medical practices  began to actually heal patients with predictable success. In 1895, the Pharmaceutical Journal wrote what might well be an eulogy for apothecaries:

You are all familiar in one way or another with the apothecary of the last century. A gloomy little man in a gloomy little shop with a gloomy little helper. What mystery there was surrounding every step!  His weird work with flame and flask mortar pestle and still! … These were pioneers in our profession and all honour is due them.

My further discussions about medicine in the 19th century can be found in three posts I have written on the topic:

More on the topic of medicine in Jane Austen’s day in these links:

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Inquiring Readers, This review by Lady Anne is about a Dido Kent mystery, part of a series of books by Anna Dean. McMillan says about its author: “Anna Dean set about crafting stories at the age of five under the impression that everyone was taught to write in order to pen books. By the time she discovered her mistake, the habit was too deeply ingrained to give up. She resides in the Lake District of England.”

Dido Kent, the heroine of Anna Dean’s new book Bellfield Hall, is that useful family member, the unmarried sister (and aunt) whose brothers add to her income so that she is not in actual want, and so they can call on her whenever they need assistance.  Dido is outspoken and curious; attractive enough not to be considered an antidote, but because she speaks her mind, has apparently frightened the young men about town enough that she has never been asked to marry.   At almost thirty she is definitely on the shelf.

In this first outing for Dido, niece Catherine has called on her aunt for assistance in a most delicate situation.  Catherine has just become engaged; it is a very good match, except that the bridegroom-to-be suddenly leaves the weekend party and writes Catherine a quelling note ending, in the most gracious albeit obscure terms, the engagement.  Catherine, who is totally surprised and distressed, asks for her aunt to come and discover what has caused this dreadful change.   To add to the worry, a woman is found dead in the shrubbery, and no one admits to knowing anything about who she may be.  And so we get a delightful country-houseparty murder mystery.

The constraints of the time – this story unfolds in September of 1805 – preclude Aunt Dido from being overt in her crime solving.  Nevertheless, she does accumulate a number of interesting clues, one of the most important of which involves the family dog.  Other peculiarities include the gatekeeper, who is a young woman with a young child, a dress of singularly unusual construction, and two sisters whose graceful accomplishments seem to vary depending upon the audience.

Much of the story is told in letters to her sister; epistolary novels are always interesting for what they tell not only in words, but in implication.  Dido’s voice is very clear, and her several false starts and stumbling efforts to discover what has happened to her niece’s intended bridegroom are explained well in the letters.

While the book has very much the flavor of the early 19th Century, several aspects of the different characters are told in a clearly 21st Century manner.  One of the houseguests, Col. Walborough, is considering marriage to a wealthy young woman; strangely, he does not seem particular about which young women.  He allows that it will mean a significant change in lifestyle for him.  He really is not referring to his military career, but rather his predilection for young men, particularly young men in service.  He cannot decide which of the two talented sisters to ask for; each has a good portion of her father’s considerable fortune settled on her.  These girls have decided that they do not wish to marry, so they have their own way of keeping suitors at bay; their parents cannot comprehend that their daughters do not wish the married state.

Dido peers, pokes, and prods, and throughout the process, says what she thinks.  She resolves the mystery and frees the young bride-groom-to-be from his terrible toils.  The mystery is good; there is just enough that is not told to keep the puzzle intriguing.

In each of Jane Austen’s books, the characters are straightforward about the economic reasons for young women to marry well.  This sometimes causes contemporary readers to consider Jane’s young heroines as mercenary, which is really not the case.  They were practical and clear-sighted.  Georgette Heyer shows the fiscal reality that young ladies of gentle birth and little means faced:  they became governesses like Ancilla Trent in The Nonesuch, or Elinor Rochdale of The Reluctant Widow, or poor Kate Malvern in Cousin Kate, whose rescue from that life by her aunt created an even worse situation.  If they tried to live by their wits, as Deb Grantham in Faro’s Daughter did, society frowned and sneered.  They were not good times for gentlewomen without income.  This reality gives Heyer a hook for her books, and the wealthy and handsome suitor, even if he is sardonic, is a welcome rescue from a life that would only become harder.

Anna Dean’s Dido Kent talks about the strictures she faces in a very contemporary fashion.  Ladies could marry money, or they could inherit money.  Lacking those options, their lives were not their own.  Dido also speaks plainly to and about the two wealthy sisters who actually can choose not to marry because they are so comfortably fixed; even they must resort to subterfuge to carry out their convictions.  At the end of this book, Dido must go to another brother’s household because “unmarried women must not expect to remain where they cannot be useful.”  Her dependent situation, however,  serves as a useful device for involvement in another mystery, and indeed, we can hope for another gently delivered tale of problems solved by Dido, in a new locality and with a different cast of characters.  We can also continue to hope that she will find someone who she feels can marry Tom Lomax, with whose family she will remain connected.  Once she accomplishes that, she perhaps will no longer be at her family’s beck and call.

Afterword: Lady Anne, who has written a number of reviews for Jane Austen’s World, is Vic’s special friend. She is often rewarded for her critiquing efforts with an outing to one of our favorite watering holes in a nearby fashion park. Whether perched on stools in an elegant bar or at an outdoor table adjacent to a bocce ball court, we can dis and gossip with the best of them. Think of Sex in the Burbs with bite. Well trod (Lady Anne is more often found sampling foods and wares in far flung places) and well shod (think of a Nordic Carrie with sensible 3″ stilettos), and you have an idea of why I find my dearest Janeite friend so appealing.

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Fans of Jane Austen’s Pride and Prejudice have always known that Mr. Darcy is a fine man. Now scientists have proof.  In scientific lingo:

The pheromone that attracts female mice to the odour of a particular male has been identified. Named ‘darcin’ by researchers writing in the open access journal BMC Biology(after Darcy, the attractive hero in Jane Austen’s novel “Pride and Prejudice”), this unusual protein in a male’s urine attracts females and is responsible for learned preference for specific males. – Science Daily

Well, duh! Haven’t we always known that fact?

Mr. Darcy keeps himself clean.

He owns a big house, a female attractor in itself.

Lyme Park as Pemberley

He takes baths.

Thinking of Lizzie

He even has a spigot named after him.

Mr. Darcy Spigot

He is handsome. N’uff said.

Image by Laurel Ann, Austenprose

He is arrogant. Aren’t certain females attracted to the thought of “taming” her man?

He comes to the rescue (and owns a white horse to boot.)

Mr. Darcy astride a white horse

Why, it amazes me that scientists have taken this long to discover darcin!

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Giving alms to debtors in Fleet prison, Rowlandson

Read More on the Topic

Image Source, Georgian England, Richardson.

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To our modern eyes, Regency empire dresses represent a charmed and romantic era. But in 1794, the high-waisted look that had so recently come into fashion aroused much ridicule, and was described as the “banishment of the body from the female form.” The Rage, or Shepherds I have Lost My Waist was a doggerel based upon a popular song of the time: “Shepherds I have lost my love – Have you seen my Anna?”

Shepherds, I have lost my waist,
Have you seen my body?
Sacrificed to modern taste,
I’m quite a hoddy doddy!
For fashion I that part forsook
Where sages place the belly;
T’is gone – and I have not a nook
For cheesecake, tart, or jelly.
Never shall I see it more,
Till common sense returning,
My body to my legs restore,
Then I shall cease from mourning.
Folly and fashion do prevail
To such extremes among the fair,
A woman’s only top and tail,
The body’s banish’d God knows where!”

The implication of the ditty was of the poor lady’s predicament. She had to refuse cakes and jelly for her dressmaker had left her with no body. Worse, her legs looked as if they started just below her breasts.


This image shows a lady wearing the latest rages: tall feathers and an enormous watch with fob suspended below a girdle without a waist.

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