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Jane Austen, Regency Circulating Libraries, and Enterprise, Part 1 — Vic Sanborn

Posted in Emma, Jane Austen's World, Northanger Abbey, Pride and Prejudice, Sanditon, Sense and Sensibility, tagged , , , , , , , on October 4, 2020| 16 Comments »

“They who buy books do not read them, and … they who read them do not buy them.” – Robert Southey

Introduction:

Circulating libraries benefited Jane Austen and authors of her era in two ways. They rented out books, pamphlets, and magazines economically to people of modest means, like Austen. After books were published, library subscriptions made them available to a wider readership than was previously possible.

A short history of circulating libraries:

Circulating libraries were first mentioned in the Oxford English Dictionary in 1740, when Dr. Samuel Fancourt used the words to advertise his store in Salisbury. He had started his library five years before to rent out religious books and pamphlets, then moved his store to London in 1742, where it thrived.

Other already existing London bookshops adopted Fancourt’s commercial library model and its descriptive term. In a little over 30 years, the circulating library had sprung up all over London, as well as Bath and other resort spas, and by 1801 an estimated 1,000 of these libraries had spread all over England. This library concept traveled to British Colonies the world over. A monthly parcel of books could also be ordered by subscription from a London circulating library and shipped to a foreign location, such as a plantation in Ceylon (“Parasols & Gloves & Broches & Circulating Libraries,” Mary Margaret Benson).

The difference between subscription and circulating libraries:

An article about subscription vs circulating libraries by JASACT (Jane Austen and all that – in Canberra), explains that the two terms are often confused with each other. Subscription libraries consisted largely of serious book collections that covered specific topics, such as science, history, travel, or theology. Annual fees from male subscribers went towards purchasing books for the collections, which tended to be lofty and not open to the public.

“The Roxburghe Club was a club for book lovers established after the sale of the library of the Duke of Roxburghe, which was one of the great libraries of the day, which concluded June 17, 1812. Its membership was men who loved and who could afford books, comprised of a mixed group of aristocrats, businessmen and academics.” – Club London in the Georgian and Regency Eras, Lauren Gilbert

Circulating libraries were established as businesses with the aim of making money from a mass market that consisted of men, the rising middle classes, and women. Instead of focusing on narrow subjects, circulating libraries offered a variety of materials designed to please as many reading tastes as possible (JASACT). These included the novel, which quickly rose in popularity with the fairer sex.

Image of lettering on a building in Bath that was once a Circulating Library and Reading Room on Milsom Street. Image courtesy of Tony Grant.

Lettering on a building in Bath that was once a Circulating Library and Reading Room on Milsom Street. Image courtesy of Tony Grant.

The libraries began to expand from London and leisure resorts to more rural communities across England. Paul Kaufman in an article entitled “The Community Library: A Chapter in English Social History” mentions a circulating library in 1790 operated by Michael Heavisides in Darlington, Durham, a provincial market town. His 16-page catalogue offered only 466 books in 1,014 volumes with a modest list of topics, many of which were not au courant:

“All types of fiction predominate, standard and cheapest contemporary types, many with the thinly veiled “history” and “memoir” titles…Shakespeare’s Poems (1 vol.), Milton’s Works, the Odyssey, Pilgrim’s Progress and Holy Ward, translations of Lucan and Ovid, Knox’s Essays, Cook’s Voyages, Spectator, Tatler, and Mirror, Smollett’s History of England (10 vols.), Salmon’s History of England (13 vols.), Thompson’s Poems, Rousseau’s Emile, Berkeley’s Minute Philosopher, Arabian Tales, and two apparently separate Persian Letters.” (The Bodleain.)

While the selection was small, even for regency libraries, Mr. Heavisides was successful enough to run his business for 30 years.

Image of Darlington in 1830

Darlington in 1830

Circulating libraries as consumers:

A new business relationship between booksellers and publishers emerged during the last quarter of the 18th century. Circulating libraries were

“…business enterprises, aimed at readers who could not afford to buy books, but who would be willing to pay perhaps half a guinea a year as a subscription fee, and then a few pence rental fee for each volume, or at readers who were away from town-perhaps at a seashore spa!-for a time, as well as those voracious readers who wanted the latest books at bargain prices.” – “Parasols & Gloves & Broches & Circulating Libraries,” Mary Margaret Benson.

The British book industry first began to sell books to the libraries. Publishers then realized they could increase profits by owning a library and renting out their own books.

Image of a circulating library owned by Messrs Lackington Allen & Co, 1809. Image in the public domain

Circulating library of Messrs Lackington Allen & Co, 1809. Image in the public domain

John Lane, who was the proprietor of the Minerva Press, and both the leading publisher of gothic fiction in England and “the principal wholesaler of complete, packaged circulating libraries to new entrepreneurs,” realized that he could make substantial profits from catering to the tastes of readers like Isabella Thorpe and Catherine Morland of Northanger Abbey. (Lee Erickson, p. 583)

“People were quite willing to rent a novel they were unwilling to buy.”- Lee Erickson

Only the rich could afford to purchase books in Austen’s day. Publishers generally did not print their own books. They contracted a printer and estimated the number of copies that would sell. Since paper was expensive (much of it was handmade and then taxed), publishers would order new books when the first estimated run sold out. As the popularity of books and novels rose, so did their price. Between 1810 and 1815 books cost the equivalent of $90 to $100 American dollars today.

Image of a Trade Card of Thomas Clout, Printer. An engraving of a printing press is at the top center of the card. Public domain image, courtesy of the Metropolitan Museum of Art.

Trade Card of Thomas Clout, Printer. Notice the printing press at the top center of the card. Public domain image, courtesy of the Metropolitan Museum of Art.

To increase rentals, publishers began printing three-decker novels, also known as leviathans. These 3-volume novels became the standard until almost the end of the 19th century. The advantage of three volumes was that each book was rented out one at a time to a customer. When a reader finished Volume the First, she would turn it in and check out Volume the Second, and so forth. This meant that three customers would read one book at any one time. In Northanger Abbey, Henry Tilney described a typical three-decker set to his sister, Eleanor:

“Miss Morland has been talking of nothing more dreadful than a new publication which is shortly to come out, in three duodecimo volumes, two hundred and seventy–six pages in each, with a frontispiece to the first, of two tombstones and a lantern …”

Image of a three-volume first edition of Pride and Prejudice bound in a simple publishers board. National Library of Scotland

Three-volume first edition of Pride and Prejudice bound in simple publishers board. National Library of Scotland

New authors like Jane Austen often took the financial risk of publishing their novels. Jane took this gamble after her father sold her first novel Susan in 1803 for £10 to Benjamin Crosby, who allowed it to languish unpublished on his shelves. Six years later, she wrote the publisher under the pseudonym of Mrs. Ashley Dennis, or M.A.D., for the return of her manuscript. Crosby quickly shot back a reply, saying her MS. would be hers if she paid the same amount for it that he paid her. For Jane that £10 represented almost half her yearly allowance, and so the book remained unpublished until after her death.

Austen learned her lesson from this experience and in 1811 she published Sense and Sensibility on commission, which guaranteed its publication. The novel’s success (which made Austen a profit of £140) ensured that she would not have to self publish again.

The rise of the novel:

“What shall we say of certain books, which we are assured (for we have not read them) are in their nature so shameful, in their tendency so pestiferous, and contain such rank treason against the royalty of Virtue…that she who can bear to peruse them must in her soul be a prostitute…” – James Fordyce, Sermons to Young Women

Jane wrote her “pestiferous” novels, as Fordyce called all fiction largely aimed at the female market, at an auspicious time. The leisured upper and rising middle classes’ demand for books increased during a period when their costs went up. In addition, the number of literate people was rapidly expanding. In Jane Austen’s England, Roy and Lesley Adkins wrote:

“…it has been estimated that two out of three working men could read to some extent, thought rather fewer had writing skills, and not nearly as many working women could read.” (p 231)

In Emma, Austen wrote about Mr. Martin’s sensible taste in reading and of his neat writing skills, which astonished Emma. Individuals who could not read enjoyed hearing a book read to them during group reading, a form of entertainment that the literate Austen family also followed. Paul Kaufman in “The Community Library” (p. 46) mentioned that reading also became a liberating force for the higher servant level. One imagines that cooks, butlers, housekeepers, and governesses were among them.

Circulating libraries fulfilled an insatiable appetite for subscribers. Library proprietors followed the money and increasingly offered more novels to accommodate female readers, although men generally had little regard for fictional stories. Many, like Mr. Collins (Pride and Prejudice), a devotee of Fordyce, held them in great contempt. Sir Edward Denham (Sanditon), could hardly contain his disdain for novel reading:

“Sir Edward, approaching Charlotte, said, “You may perceive what has been our occupation. My sister wanted my counsel in the selection of some books. We have many leisure hours and read a great deal. I am no indiscriminate novel reader. The mere trash of the common circulating library I hold in the highest contempt. You will never hear me advocating those puerile emanations which detail nothing but discordant principles incapable of amalgamation, or those vapid tissues of ordinary occurrences, from which no useful deductions can be drawn. In vain may we put them into a literary alembic; we distill nothing which can add to science. You understand me, I am sure?”

Pity poor Charlotte having to listen to that drivel. Contrast Lord Denham’s pompous opinions with Henry Tilney’s charming and succinct statement:

“The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.” (Northanger Abbey)

It is interesting to note that Austen rewrote Susan (Northanger Abbey) before she began to write her unfinished novel, Sanditon, and that she and her family were avid novel readers. Still, reading fiction belonged largely to the pervue of women. Gothic and romance novels, popularized by Frances Burney, Maria Edgeworth, and Ann Radcliffe, were regarded as disposable throwaways only good enough for one-time reading. Few people purchased novels or kept them on their shelves, and so they were cheaply published with a simple binding known as publishers boards. The Prince Regent owned a handsome three-volume book of Emma, but this was the exception, not the rule.

Image of the 3-decker edition for the Prince Regent of Emma.

The Prince Regent’s edition of Emma by Jane Austen, courtesy Deirdre Le Faye via Jane Austen in Vermont.

Despite Fordyce’s dire warnings, by the end of the 18th century fully 75% of books rented out by circulating libraries were novels. Ninety percent of Mr. Heavisides books in his circulating library in Darlington were listed as standard and “cheapest contemporary” fiction.

This short discourse, gentle reader, brings Part One of Circulating Libraries to an end. In the second installment, discussions will center on subscription fees, libraries as social hubs, subscription books, reading rooms, characteristics of large city and small rural libraries, and Jane Austen’s descriptions of circulating libraries in her novels and letters.

Sources:

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Pride and Prejudice with Nineteen Letters, and Austoe Socks Winners from ChattyFeet

Posted in Jane Austen in the modern world, Jane Austen's World, Pride and Prejudice, tagged , , , , on September 11, 2020| 12 Comments »

P&P Book CoverInquiring Readers, On September 15th Chronicle Books will release an edition of  Pride and Prejudice: The Complete Novel, with Nineteen Letters from the Characters’ Correspondence, Written and Folded by Hand, By Jane Austen, Curated by Barbara Heller. I received my lovely copy along with this text:

“This deluxe edition brings to life the letters exchanged among Jane Austen’s characters in Pride and Prejudice. 

Glassine pockets placed throughout the book contain removable replicas of 19 letters from the story. 

Image of Pride and Prejudice letters with glassine inserts. Image Chronicle Books.

Pride and Prejudice letters with glassine inserts. Image Chronicle Books.

These powerful epistles include Lydia’s announcement of her elopement, Mr. Collins’s obsequious missives, and of course Darcy’s painfully honest letter to Elizabeth.

  • Nothing captures Jane Austen’s vivid emotion and keen wit better than her characters’ correspondence.
  • Each letter is re-created with gorgeous calligraphy.
  • Letters are hand-folded with painstaking attention to historical detail.

Perusing the letters will transport readers straight to the drawing-room at Netherfield or the breakfast table at Longbourn.”

Image of Barbara Heller

Barbara Heller

Purchase the book at Chronicle Books, or at other booksellers, including Amazon, Bookshop.org, and Barnes and Noble.

Find Barbara Heller at BarbaraHeller.org, with information about her process and the scribes and graphic artist who designed the letters.

 

ChattyFeet Winners of Jane Austoe Socks!

In mid-August we held a contest regarding ChattyFeet’s Jane Austoe socks and received a variety of creative answers to our prompts. 

We announced three winners on August 22nd–Denise, Mea, and Mary. Mea proudly sent images of her wearing the socks and holding them. 

Mea holds her new socks
Jane Austoe & Mea

Denise, another contest winner, also sent in her images.

 

Denise with her new chattyfeet socks

Denise with her new chattyfeet socks


Denise and her socks view her Darcy and Lizzie figurines.

Denise and her socks view her Darcy and Lizzie figurines.

Vic received a surprise gift from Gil Kahana, the CEO of this funky, wonderful site. It was a literature box set of four outstanding authors: Jane Austoe, Virginia Wool, Ernestoe Hemingway, and Marcel Proustoe. I was thrilled and immediately donned two socks. Guess which author dominated!

Image of Vic wears rival authors on her feet whilst reading Fullerton's A Dance With Jane Austen.

Vic wears rival authors on her feet whilst reading Fullerton’s A Dance With Jane Austen.

The box is as unique as the socks.

The socks inside the box. Let the socks do the talkin’
The top of the Literature Sock Collection

ChattyFeet does not stop at literature. Famous artists, scientists, and royals also receive the funky and humorous treatment. Jane Austoe is the latest design to receive foot accolades. 

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Pride and Prejudice: The Opera

Posted in jane austen, Jane Austen's World, Pride and Prejudice, tagged , , , on September 23, 2019| 5 Comments »

Austen Opera 001Pride and Prejudice, an opera written by Kirke Mechem, will make its debut November 20th-23rd at the Miriam A. Friedberg Concert Hall, located at historic Mt. Vernon Place in Baltimore. This event is part of the Peabody Opera Theatre, Johns Hopkins University.

I had the privilege of attending a preview at Goucher College last Wednesday. Managing artistic director, Samuel Mungo, explained the origin of the opera (“Jane Austen’s Pride and Prejudice practically begs to be set to music!”). In the early 20th century, atonal music was all the rage and did not lend itself well to a novel set in the Regency era. Mr. Mechem writes tonal music, which is perfectly suited to Jane Austen’s most famous work.

In his extensive and successful career, Mr. Mechem has written over 250 works, many of which are produced the world over. His three-act opera, Tanuffe, has been performed over 400 times. Songs of the Slave from the opera John Brown had its 100th performance in Boston in 2018. The premiere of Pride and Prejudice the Opera will be held in Baltimore this fall.

During the Goucher College preview, the audience heard 3 songs from the opera. In order, they were:

  1. Claire Cooper and Kyle Dunn as Elizabeth Bennet and Mr. Wickham

    Claire Cooper & Kyle Dunn. Photo: V. Sanborn

    Wickham’s and Elizabeth Bennet’s first meeting, in which they discuss Mr. Darcy. Wickham’s opinions confirmed Lizzie’s first impression of Darcy. Singers: Claire Cooper and Kyle Dunn

Noted Austen scholar, Juliette Wells, who teaches at Goucher, observed that Mr. Dunn, who sang Mr. Wickham’s role, was wickedly handsome!

 

  1. Claire Cooper and Joshua Scheid as Elizabeth Bennet and Mr. Darcy

    Claire Cooper & Joshua Scheid. Photo: V. Sanborn

    Darcy expresses his feeling for Elizabeth (much against his good judgment). The scene is dramatic. Bingley has left Jane, due to Mr. Darcy’s influence, and Mr. Darcy explains his actions while declaring his love.

Joshua Scheid, who sang Mr. Darcy’s role, has a strong, assertive voice – one that suits Austen’s hero. Both he and Kyle Dunn (Wickham) sing baritone, so that the men are dramatically matched during their scenes.

  1. 20190918_170600

    Joann Kulesza. Photo: V. Sanborn

    Lizzie reads the letter from Darcy, which explains Wickham’s behavior towards Georgiana and Darcy’s role in saving his sister from Wickham’s machinations.

Joann Kulesza, Music Director of Peabody Opera (right), explained this scene beautifully. Darcy slowly and methodically enunciates his words in the letter as Elizabeth reads it. Her reactions to his explanations are quick, dramatic, and emotional. This scene is quite effective and a delight for Austen fans, who can probably recite the words of the letter to a tee.

After the songs, Dr. Mungo and the singers answered questions from the audience. The opera is a little over 2 hours long, which necessitated drastic cuts to the plot. The Bennets have only three daughters (Mary and Kitty are cut out, as is Jane Bennet’s illness), and the focus is on Darcy’s and Lizzie’s story. While Mr. Bennet is featured, Mrs. Bennet appears more often and has one of the major roles.

The three singers who performed are young, and it was amusing and informative to hear their interpretations of their characters. One had not read P&P before, and two had not read the novel since high school (which was not too long ago). Their characters’ voices are telling. Lizzie is a mezzo-soprano, for she is too sensible to be a soprano. Jane is a soprano and Mr. Bingley a tenor. Their tender hearts are reflected in their voices. Both Darcy and Wickham are baritones, which should create interesting vocal confrontations.

Interestingly, Mr. Collins has a bass-baritone, a voice with a low register. If you read Austen’s description of Mr. Collins, he is a “tall, heavy-looking young man of five-and-twenty.” I rather like the choice that Kirke Mechem made for Mr. Collins, as well as for the shrill Mrs. Bennet, who is a high soprano. Lady Catherine de Bourgh is a contralto, the lowest female singing voice. I can’t wait to hear the scenes between Lizzie’s mezzo and Lady Catherine’s imperious contralto demands.

The stage sets are still in the design phase, although almost completed. The main part of the stage will be a gazebo with four wings that open or close to represent Netherfield or Longbourn. The set designers are still figuring out how Rosings will look. A garden is also included.

Sketches of the movable wings

Tickets, which are free, will be available October 1: https://peabody.jhu.edu/event/kirke-mechem-pride-and-prejudice/

Kirke Mechem http://www.musicsalesclassical.com/composer/work/43050

Short biography of Kirke Mechem: http://www.musicsalesclassical.com/composer/short-bio/Kirke-Mechem

Peabody Opera Theater Presents Pride and Prejudice: About Samuel Mungo, DMA: https://www.goucher.edu/learn/graduate-programs/sage/programs/pride-and-prejudice

Images published with permission from Samuel Mungo

 

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Kisses and Embraces in Jane Austen’s Pride and Prejudice by Rachel Dodge

Posted in Jane Austen's language, Jane Austen's World, Pride and Prejudice, tagged on June 30, 2019| 21 Comments »

Much has been said about proper greetings, curtsies, nods, and bows in Jane Austen’s novels, but familiar greetings that occur between close friends and family members are just as fascinating. In fact, a close inspection of the novels reveals more kissing, embracing, and hand-holding than one might first imagine.

Elizabeth and Mr. Wickham." Pride and Prejudice illustration by C.E. Brock (1895), British Library.

Elizabeth and Mr. Wickham.” Pride and Prejudice illustration by C.E. Brock (1895), British Library.

Austen’s own family is described as affectionate by many of her biographers; her letters reveal the same. In her novels, the degree of physical touch and affection (or the lack thereof) shown by her characters and families can provide us with interesting insights.

Pride and Prejudice

In Pride and Prejudice, Austen uses physical touch to offer clues about her characters in several instances. For example, when saying goodbye to Jane and Elizabeth, Miss Bingley embraces Jane and shakes hands with Elizabeth. With these gestures, she communicates her feelings toward Jane and Elizabeth; the narrator aids our further understanding:

“On Sunday, after morning service, the separation, so agreeable to almost all, took place. Miss Bingley’s civility to Elizabeth increased at last very rapidly, as well as her affection for Jane; and when they parted, after assuring the latter of the pleasure it would always give her to see her either at Longbourn or Netherfield, and embracing her most tenderly, she even shook hands with the former. Elizabeth took leave of the whole party in the liveliest of spirits.” (Chapter 12)

Later, when Elizabeth leaves Hunsford, Miss de Bourgh makes an effort at friendliness in her parting: “When they parted, Lady Catherine, with great condescension, wished them a good journey, and invited them to come to Hunsford again next year; and Miss de Bourgh exerted herself so far as to curtsey and hold out her hand to both” (Chapter 37).

After Lydia’s marriage, Mr. Wickham and Elizabeth’s greeting speaks volumes about what she knows and what he suspects she knows: “She held out her hand; he kissed it with affectionate gallantry, though he hardly knew how to look, and they entered the house” (Chapter 52).

These strained greetings and leave-takings stand in stark contrast to the warm affection shown in the Bennet family. For example, Elizabeth greets her little cousins with a kiss when she returns to Longbourn. Even though she’s in a hurry, her greeting provides a glimpse into their normal family interactions:

“The little Gardiners, attracted by the sight of a chaise, were standing on the steps of the house as they entered the paddock; and, when the carriage drove up to the door, the joyful surprise that lighted up their faces, and displayed itself over their whole bodies, in a variety of capers and frisks, was the first pleasing earnest of their welcome. Elizabeth jumped out; and, after giving each of them a hasty kiss, hurried into the vestibule, where Jane, who came running down from her mother’s apartment, immediately met her.” (Chapter 47)

This scene also reveals that the Gardiner children have a wonderful relationship with their parents and cousin. They’re so full of joy that they’re unable to hold still. Even their movements show their enthusiasm.

Furthermore, Austen uses physical touch to illustrate special fondness between the other Bennet family members. When Elizabeth speaks to Mr. Bennet about her family’s reputation, Mr. Bennet reaches for her hand, in a moment of seriousness, and comforts her:

“Mr. Bennet saw that her whole heart was in the subject, and affectionately taking her hand said in reply: ‘Do not make yourself uneasy, my love. Wherever you and Jane are known you must be respected and valued; and you will not appear to less advantage for having a couple of—or I may say, three—very silly sisters’” (Chapter 41).

Elizabeth and Jane embrace when they are in great trial: “Elizabeth, as she affectionately embraced her, whilst tears filled the eyes of both, lost not a moment in asking whether anything had been heard of the fugitives” (Chapter 47). And again, when they are extremely happy: “Jane could have no reserves from Elizabeth, where confidence would give pleasure; and instantly embracing her, acknowledged, with the liveliest emotion, that she was the happiest creature in the world” (Chapter 55).

When Mr. Bingley and Elizabeth first meet as future brother and sister, there is genuine affection and joy on both sides:

“He then shut the door, and, coming up to her, claimed the good wishes and affection of a sister. Elizabeth honestly and heartily expressed her delight in the prospect of their relationship. They shook hands with great cordiality; and then, till her sister came down, she had to listen to all he had to say of his own happiness, and of Jane’s perfections…” (Chapter 55)

Finally, Jane kisses Mr. Bennet when he gives his permission for her to marry Mr. Bingley: “[H]e turned to his daughter, and said: ‘Jane, I congratulate you. You will be a very happy woman.’ Jane went to him instantly, kissed him, and thanked him for his goodness” (Chapter 55). It’s easy to see how much it pleases Mr. Bennet to see his daughter happy and how much it pleases Jane to make her father happy.

We find examples of kissing and embracing in each of Austen’s novels. Some of her novels have multiple instances and others have very few, depending on the families in question and how they tend to interact with one another. Austen uses these interactions to create a warmer or cooler atmosphere in each family and relationship.

These are just a few scenes from Pride and Prejudice. I’m sure you can think of others. What do these examples say to you about the characters in Pride and Prejudice?

________

Rachel Dodge is a regular contributor to Jane Austen’s World blog and Jane Austen’s Regency World magazine. She is a college English professor and the author of Praying with Jane: 31 Days Through the Prayers of Jane Austen. You can find her online at www.RachelDodge.com, on Instagram https://www.instagram.com/kindredspiritbooks/, or on Facebook https://www.facebook.com/racheldodgebooks/.

 

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Chamomile Tea: A tisane to soothe the vapors and bouts of indigestion

Posted in Jane Austen's World, Mrs. Bennet, Pride and Prejudice, tagged , on January 25, 2019| 19 Comments »

I’ve just discovered the beneficial qualities of chamomile tea. This was quite by accident. I suspect I might be developing an allergy to food, specifically tomatoes or onions or spicy foods containing these ingredients. I only know that for weeks I’ve been subjected to frequent stomach and intestinal upsets and so I began to search for tried and true methods of relief. As a Janeite I asked: “What would Jane have done?”

Women during the Georgian era, including the Austen women, made their own medicinal remedies for all sorts of ailments. Many recipes were handed down in the family over the generations, others were acquired in Cookery Books.

chamomile2

Thumbnail image from Cup & Leaf

One common easy-to-make remedy for an assortment of ills was herbal tea or tisane. I looked up information online, found teas that aided digestion, then checked my tea shelf and found four of the suggested herbal teas for indigestion: chamomile tea, green tea, ginger tea, and hibiscus tea. (There are more.)

I chose the chamomile as being a likely candidate, for I like the taste. After a few days my indigestion largely calmed down. According to the Dictionary of 18th Century Herb Usage from Chadds Ford Historical Society,

Chamomile [is] infused as a tea for indigestion, gas, and stomach aches. Also used as a strewing herb and insect repellent.” Link to  Dictionary of 18th Century Herb Usage PDF doc

In European records, medicinal use of Chamomile was practiced for centuries.

Ancient physicians prescribed herbal teas regularly to aid in digestion and help relieve symptoms of the common cold and flu. Before the advent of cold medicines and antibiotics, herbal teas were often the only way to treat illnesses.” – Greek Mountain Tea, Chamomile, and Fennel

Chamomile tea is commonly infused from a plant known as Matricaria recutita. The tea is made from the dried flower, not the stems and leaves. The brew is delicate and yellowish and has a lovely floral or fruity aroma. It is often flavored with mint leaves or shaved fresh ginger, but I like it plain. Three cups a day did the trick.

Image of Bingleys teas, chamomile flowers, and favorite teapot/cup

A product description for “Compassion for Mrs. Bennet’s Nerves” on Bingley’s Teas can be seen on my large monitor screen. Chamomile flowers screenshot sits on my laptop (love my standing desk). Sitting on the top ledge are my favorite tea pot/cup and an annotated edition of Pride and Prejudice (I recommend the DK Illustrated Classic edition for newcomers to the Jane Austen oeuvre, like my sister-in-law). Image by Vic Sanborn.

The tea’s success in reducing my symptoms prompted me to research 18th century recipes. So far I’ve had no success, but that means nothing (there should be references that a dedicated researcher would find). I also looked up to see if Jane Austen mentioned the brew in her letters, but found no references. Still, the flower, which looks like a daisy, is common in Europe and easy to grow in an herb garden. One cannot help but surmise that Mrs. Austen and her two daughters knew exactly how to make a cuppa with freshly harvested chamomile flowers.

Cropped illustration of Mrs. Bennet by Hugh Thompson

Hugh Thompson illustration

While I could not find references to Jane’s having made chamomile tea (its properties, aside from soothing intestinal ailments include reducing anxiety, tension, and headaches and promoting sleep), I did find this delightful product description by Bingley’s Teas for a modern tea named “Compassion for Mrs. Bennet’s Nerves.”  

At last there is compassion for what poor Mrs. Bennet suffers with her nerves! A tisane of chamomile, peppermint, passion flower, rosehips, and lavender, sooth the most agitated of moments in a delicious cup. We recommend a touch of local honey for added bliss!”

As for chamomile tea’s efficacy,

The National Institutes of Health funded a study at the University of Pennsylvania on people with generalized anxiety disorder where the anxiety interferes with their lives. Chamomile was shown to to have promising results in reducing the participants’ anxiety.” – The Tea Maestro

Sources:

  • Greek Mountain Tea, Chamomile, and Fennel, October 4, 2016, The National Herald, click on this link. 
  • Introduction to chamomile, PDF document from abc.herbalgram.org. Click on this link.
  • Tea Time at Reverie: Compassion For Mrs. Bennet’s Nerves Herbal Tea from Bingley’s Teas, posted by Sara Letourneau, 12-23-2014, A bibliophile’s Reverie. Click on this link.
  • The Health Benefits of Chamomile Tea, The Tea Maestro. Click on this link.
  • How to Make Chamomile Tea: 5 Recipes From Simple Tea to a Hot Toddy, Cup & Leaf. Click on this link.
  • Chamomile: A herbal medicine of the past with bright future, Janmejai K Srivastava, Eswar Shankar,and Sanjay Gupta, U.S. National Library of Medicine, National Institutes of Health, 11-1-2010. Click on this link.

 

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