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Archive for the ‘Regency Life’ Category

Inquiring readers,

For those of you who have not yet visited Nancy Mayer’s beautiful website, you are in for a treat. Click here to enter Nancy Mayer, Regency Researcher: A most proper authority on all things Regency. Nancy has been a member of JASNA (Jane Austen Society of North America) for some time. She was a member of a local chapter in 1990-1994, then started up a new chapter in 1996, and has been the regional coordinator for northern Georgia since then. Nancy has been researching Regency England for more than twenty years, and finds Google books a big help. While she is responsible for the text on her website, Susan Newman designed the web pages and added the illustrations. Nancy graciously agreed to answer a few of my questions:

1. How and when did you become interested in Jane Austen’s novels?

This is probably heresy, but I came to Austen and her novels because I wanted to learn more about Regency life. I had heard of Pride and Prejudice and seen the old Lawrence Olivier movie, but hadn’t gone any further with it or the other novels until I became interested in the Regency period. After reading Jane Austen’s letters, and some biographical data on her, I started in on her novels. I joined a discussion group in Atlanta around 1990 and haven’t looked back since. Even after twenty years of discussing the novels there is always something new to be found. I am not one who has memorized the books and don’t read them all over every year, but I usually find some new insight each time I do.

2. Which is your favorite Jane Austen book and/or character, and why?

Persuasion. Anne Elliot is my favorite character. She is more mature than the other heroines and so doesn’t make the mistakes they do. One seldom has to blush for her. I also think Wentworth is more romantic than Darcy, but I wouldn’t want to be a sailor’s wife.

3. You are considered an authority on the topic of Jane Austen and the Regency period, and your breadth of knowledge about the era astounds me. What are some of your favorite topics to research and why?

You flatter me. The more I research the more I discover what I don’t know. I like to research marriage, titles, peerage, the law, and mourning rules. I find property law most confusing, and barely know a VanDyke fringe from a scalloped one.

One can find all sorts of period books on Google books.

I am also interested in Lord Byron who was Jane Austen’s contemporary, His life gives the masculine and aristocratic elements missing in Jane Austen’s life. Though they both were alive from 1809 to 1817, one could sometimes think they lived at different times.

4. For the casual (but avid) Jane Austen reader, what are some sources you would recommend for further reading?

  • My Dear Cassandra:The letters of Jane Austen, Selected and introduced by Penelope Hughes Hallet. Clarkston Potter Publishers or Collins & Brown 1990, ISBN 0-51758312-7
  • Some might want the complete letters edited by Deirdre Le Faye, or the ones edited by John Chapman.
  • The novels published by Oxford have great appendices. Some of the Critical editions of the novels have appendices. One should have a copy of Lover’s Vows in one’s Copy of Mansfield Park. There are annotated versions of the stories with explanations of obscure and not so obscure points, and there are even comic book editions of Pride and Prejudice and Sense and Sensibility. No matter one’s taste or interests, one should be able to find a connection with Jane Austen.
  • Mrs. Hurst Dancing by Diana Sperling. This isn’t about Jane Austen but the illustrations of the Sperling family could be those of the Younger Dashwoods or the Bennets. # ISBN-10: 0575030356 # ISBN-13: 978-0575030350. Some are exceedingly expensive, but there are remaindered copies and second-hand copies at reasonable prices.
  • Jane Austen and Her times by G.E. Mitton, originally published 1905, 2007 Barnes and Noble.
  • Also there are probably fifty books out there covering everything from Jane Austen and Art to Jane Austen and Zombies. I know of book on Jane Austen and Food, Jane Austen and Crime, Jane Austen and fashion, ( and Fashion in the Time of Jane Austen).
  • Those who like quizzes and challenges might like: Jane Austen Challenge by Helen Barton: BartonBooks (June 2009) # ISBN-10: 0952725754 # ISBN-13: 978-0952725756
  • Also, So you Think You Know Jane Austen? By John Sutherland and Deidre le Faye Oxford University press, ISBN 0-19-280440-5

5. Would you like to share a common misconception about the Regency period with our readers, one that is wrongly perpetuated by book sources, websites, and blogs?

A general error I have found is thinking that the marriage laws, the church, and laws of inheritance were the same then as they are now. Many think the regency period was just like today, but in costume and with horses.

Nancy, thank you for sharing your wonderful insights. I hope readers will bookmark your website and visit it often. It’s best feature, as far as I am concerned, is your answers to their specific questions, like a personal researcher.

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The valet (rhymes with pallet) is a personal manservant who tends to his master’s every need, from a clean room to seeing to his clothes to making sure that his entire day goes smoothly from the moment he rises to the time he goes to bed. Also known as a gentleman’s gentleman, the valet is the closest male equivalent to a lady’s maid.

Mr. Darcy (Colin Firth) dresses with the help of his valet, who stands ready to put on his coat. In this scene, Mr. Darcy changes his mind and chooses another coat before visiting Elizabeth at the inn. Image @Pride and Prejudice, 1995

Mrs. Beeton describes a valet’s duties in her excellent 1861 book on household management:

His day commences by seeing that his master’s dressing-room is in order; that the housemaid has swept and dusted it properly; that the fire is lighted and burns cheerfully; and some time before his master is expected, he will do well to throw up the sash [open the window] to admit fresh air, closing it, however, in time to recover the temperature which he knows hismaster prefers. It is now his duty to place the body-linen on the horse before the fire, to be aired properly;

Edwardian clothes horse. Image @Denhams.com

to lay the trousers intended to be worn, carefully brushed and cleaned, on the back of his master’s chair; while the coat and waistcoat, carefully brushed and folded, and the collar cleaned, are laid in their place ready to be put on when required. All the articles of the toilet should be in their places, the razors properly set and stropped, and hot water ready for use.

Barry Lyndon (Ryan O’Neal). While the master shaves, his footmen assist him, making sure his implements are at hand. His valet would have overseen the arrangements and will sharpen the razor and clean the shaving brush after Barry has finished shaving. Image @Barry Lyndon

Gentlemen generally prefer performing the operation of shaving themselves, but a valet should be prepared to do it if required; and he should be a good hairdresser. Shaving over, he has to brush the hair, beard and moustache, where that appendage is encouraged, arranging the whole simply and gracefully, according to the age and style of the countenance. Every fortnight, or three weeks at the utmost, the hair should be cut, and the points of the whiskers trimmed as often as required. A good valet will now present the various articles of the toilet as they are wanted; afterwards, the body-linen. Neck-tie, which he will put on, if required, and, afterwards, waist-coat, coat, and boots, in suitable order, and carefully brushed and polished.”

Other valet duties:

Ian Kelly (Brummel) and Ryan Early in Beau Brummel (2006 play)

  • As his master goes out, the valet hands him his gloves and hat, opens the door for him, and receives his orders for the rest of the day.
  • He puts his master’s dressing-room in order, cleaning combs and brushes, folding clothes and putting them in drawers.
  • If his master has no clothes sense, the valet will select suitable clothes, making sure they are clean, particularly the collars, and maintained in good repair.
  • He consults with the tailor, perfumer, and linen-draper.
  • He awaits his master’s return, making sure that his drawing room is picked up by the maids, and dusted and swept by them, and that the room is made ready with a lit fire and candles.
Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Bates (Brendan Coyle) assists Lord Grantham (Hugh Bonneville) in Downton Abbey. A valet and his master become close over the years. Image @Downton Chaser

  • The valet stands ready to help his master dress for dinner or any other occasion.
  • He makes sure that the washing table is ready, filling the ewer and carafe with fresh water, and placing the basin towels, brushes, hot water, and shaving apparatus near at hand.
  • In case of wet weather, when his master has returned from riding, the valet lays out a change of dry linen and clothing, and is ready to assist his master out of the damp clothing.
  • He helps his master prepare for journeys, packing enough linen and other clothing for the trip. At the Inns, he takes charge of his master’s comfort as he would at home, and has everything ready to assist his master in dressing and undressing.
  • If no footmen is available during the journey, the valet will also see to these services, even at table.
Bates at the moment he is informed that he must leave Lord Grantham's service. Despite their long association, it was imperative that a valet was physically capable of performing all his duties, including standing in as footman when the occasion required. Bates' reliance on a cane prevented him from carrying a tray. (We all have learned that Lord Grantham is a softie and kept Bates on.) Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Bates at the moment he is informed that he must leave Lord Grantham’s service. Despite their long association, it was imperative that a valet was physically capable of performing all his duties, including standing in as footman when the occasion required. Bates’ reliance on a cane prevented him from carrying a tray. (We all have learned that Lord Grantham is a softie and kept Bates on.) Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

The valet keeps his master’s clothes in good repair:

  • Hats are kept well brushed on the outside with a soft brush, and wiped inside with a clean handerchief.
  • Clothes placed in a wardrobe are covered with brown holland or linen wrappers to secure them from dust.
  • He places boots and shoes cleaned by the under footman in the dressing room.
  • Slippers are aired by the fire.
  • As soon as his master finishes shaving, the valet will clean the razor and brushes.
  • Before he hangs damp clothing by the fire, he rubs the cloth with a sponge until the smoothness of the nap is restored. If the clothes are allowed to dry before brushing, then later brushing might not remove the roughness.
Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

In Downton Abbey, Matthew resists Molesley’s services, causing an undue amount of stress to the butler, who also acts as his valet. Credit: Courtesy of © Nick Wall/Carnival Film & Television Limited 2012 for MASTERPIECE

Valets in humbler households:

The butler in a second or third rate establishment takes on the duties of the house steward, valet, and footman as well. He is likely to pay market bills, assist his master in dressing, serve at table and oversee the wine and silver, and superintend other male servants.

Sources:

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Lady Sarah Jersey

Gentle Readers: In my sidebar I call myself an amateur historian, an apt term as this post will attest. I try to quote from older sources, but this can sometimes backfire. Captain Gronow, for example, whose words I quoted for this post via John Ashton (1890) and Lewis Saul Benjamin (1909), wrote down his memories about the Regency era in 1863, a half century after the events occurred.  Gronow’s memory, unfortunately, was faulty in a few particulars, especially in recalling the names of the patronesses of Almack’s in 1814, and why they turned the Duke of Wellington away. I have placed a number of updates in the original post.

Any individual who has read a novel set in Regency England knows about the assembly rooms at Almack’s and the club’s exclusivity. While Almack’s was notorious for its stale refreshments and thin lemonade in the supper room, the Beau Monde never minded, for the idea was to hob nob with the right people, trot out one’s eligible daughters, and make the best marriages possible given their dowries and family connections. Looks and a personality had very little to do with a young lady’s success in her first season OUT, but a pleasing countenance matched with a fortune would swiftly speed up the unification of great estates or the purchase of a worthy title.

Almack's, Pall Mall, opened in 1765

The Patronesses of Almack’s guarded entry to the club like Valkeries prepared to do battle. No one, not even the Duke of Wellington, would dare to step a foot inside the establishment without a proper voucher, and, indeed, he was turned away once for wearing *gasp* trousers instead of knee breeches. But is this true? Please keep on reading.

This passage from Social England Under the Regency by John Ashton (p 383) is quite telling:

*The Duke of Wellington

Of course the Creme de la creme went to Almack’s, but numberless were the Peris who sighed to enter that Paradise, and could not. Capt. Gronow, writing of 1814, says: “At the present time one can hardly conceive the importance which was attached to getting admission to Almack’s, the seventh heaven of the fashionable world. Of the three hundred officers of the Foot Guards, not more than half a dozen were honoured with vouchers of admission to this exclusive temple of the beau monde, the gates of which were guarded by lady patronesses whose smiles or frowns consigned men and women to happiness or despair. These lady patronesses were the Ladies Castlereagh, Jersey, Cowper, and Sefton; … and the Countess Lieven.” (Note: At that time, two other patronesses included Lady Downshire and Lady Bathurst.)

Cruikshank, Longitude (Countess Lieven) and Latitude (in capri-length pantaloons) at Almack's.

In a Newspaper of May 12, 1817, we read – “The rigorous rule of entry established at Almack’s Rooms produced a curious incident at the last Ball – The Marquis and Marchioness of W__r, the Marchioness of T__, Lady Charlotte C__ and her daughter, had all been so imprudent as to come to the rooms without tickets, and though so intimately known to the Lady Managers, and so perfectly unexceptionable, they were politely requested to withdraw, and accordingly they all submitted to the injunction. Again at the beginning of the season of 1819, we find these female tyrants issuing the following ukase: “An order has been issued, we understand, by the Lady Patronesses of Almack’s, to prevent the admission of Gentlemen in Trowsers and Cossacks to the balls on Wednesdays, at the same time allowing an exception to those Gentlemen who may be knock kneed or otherwise deformed.” But the male sex were equal to the occasion as we find in the following lines: –

TO THE LADY PATRONESSES OF ALMACK’S

Tired of our trousers are ye grown?

But since to them your anger reaches,

Is it because tis so well known

You always love to wear the breeches.

*Image from Highest Life in London: Tom and Jerry Sporting a Toe among the Corinthians at Almack's in the West, by I. Robert and George Cruikshank, 1821

Update:  Regency Researcher, Nancy Mayer, was kind enough to contact me and set a few facts straight. I have placed her explanations in the update/update below. In the above image, the young bucks are wearing dark suits with dark, close-fitted trousers (Beau Brummel’s influence), while the older men are still in buff-colored knee breeches.

If anyone knows the true story about the Duke and his trousers, please contact me. One conjecture is that Wellington was turned away for arriving after midnight. (Read more about the Patronesses’ edict on trousers in this link to The Beaux of the Regency, Vol. 1.)

Update/Update: Pantaloons, which fitted snug to the leg, came in two lengths: capri and long. A strap under the foot kept long pantaloons in place. (The image below shows the strap.) Thus, the men in the image above were wearing tight pantaloons, for trousers at the time were slightly looser and would have sported gussets that extended the fabric low over the shoe.

Pantaloons with straps, 1821. Image @Republic of Pemberley

In 1814, the date Gronow recollected, trousers (below) were acceptable for day wear only. Pantaloons were worn as evening wear.

Nancy Mayer, a Regency researcher who provided much of the updated information, wrote in a second note: “Luttrell’s poem on Almack’s was published around 1819. According to the verse about the “trowsers”, I think trousers didn’t become an issue until after 1817, at least. Sometimes it is hard to tell if the men are wearing trousers or the longer pantaloons with the strap under the foot. Most of the Lords in the picture of the Trial of Queen Caroline 1820 are wearing trousers or the long pantaloons.”

 

Trouser with gussets, day wear, 1813

More on the topic:

*Images: Carolyn McDowell

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Copright @Jane Austen’s World. Written by Tony Grant, London Calling

Two of the greatest writers of the late 18th century and early 19th century were Jane Austen and William Wordsworth. We think we know Jane Austen’s primary influences and encouragement in her writing. They are found amongst the members of her family, the villages, towns and great houses she visited constantly near where she lived and the people she interacted with in those diverse places. She was a keen observer and knew them all intimately. Claire Tomalin in her biography, “Jane Austen, A life,” says that Jane wrote

“… tightly constructed stories that cover a short span of time…….Jane Austen also chose to write about small families.”

Dorothy Wordsworth

About, 250 miles north, there lived a young lady called Dorothy Wordsworth. She was a little older than Jane by five years. Dorothy’s brother was William Wordsworth and for a while they lived together in a tiny cottage they called Dove Cottage set in the wild and desolate scenery of The Lake District. Dorothy and William Wordsworth wrote about their emotional and intellectual response to nature and the landscape around them. While living at Dove Cottage in the Lake District, Dorothy was the muse, support, encourager and inspiration for her brother.

Dove Cottage, Grasmere. Image @Tony Grant

William often read Dorothy’s journal and drew inspiration for his poems from it.
We might ask why and how did these two writers have such different responses to the world about them?

Jane Austen by Cassandra Austen

Jane was born into a lively and vibrant family of six brothers and one sister. It was a boisterous environment and aunts, uncles and neighbours were an additional group of relationships that were there, interested and ready to be involved with the new addition to the family. Family life was paramount in Jane’s existence from the start. All her senses were filled with it. Reading Gilbert Whites journals and letters makes us aware of the rich natural world all around her in her Hampshire village of Steventon, but although Jane would have been brought up in this natural environment, and she would have taken notice and interest in it, the life of family was the overriding power that carried her along. And so from an early start her environment filled her thoughts feelings and imagination. Claire Tomalin reminds us that,

“Not only was she one of eight, she lived with a perpetual awareness of a cousinage extending over many counties and even beyond England.”

Some examples of her writing show the intensity with which she was concerned with conversation and relationships as her primary focus. In Persuasion, the little Dorset coastal port of Lyme Regis plays a major role. In a letter to Cassandra written on Friday 14th, September, 1814, Jane says,

I called yesterday morning-( ought it not in strict propriety be termed yester – Morning?) on Miss Armstrong & was introduced to her father & mother. Like other young ladies she is considerably genteeler than her parents; Mrs Armstrong sat darning a pr of stockings the whole of my visit-.But I do not mention this at home , lest a warning should act as an example.-We afterwards walked on the Cobb; she is very conversable in a common way; I do perceive wit or genius- but she has Sense and some degree of Taste,& her manners are very engaging. She seems to like people too easily- she thought the Downes pleasant…”

In Persuasion, Jane writes about Anne Elliott, Captain Harville, Captain Wentworth,and Louisa Musgrove walking on the Cobb. The scenery is definitely noticed, but the main preoccupation is conversation and social interaction;

“but as they drew near The Cobb there was such a general wish to walk along it once more, all were so inclined…”

The Cobb at Lyme with Grannies Teeth. Image @Tony Grant

At this point they did not know how this walk along the Cobb would affect their whole situation, but the pull of this great physical presence was important and drew them to it as a social group conversing and interacting, their relationships developing. In both Jane’s letters above to Cassandra, and in this extract from Persuasion, it’s the relationships that are paramount. The Cobb is the setting for both. We can see in these two extracts how relationships play their part in Jane’s real life and Jane’s fictional life. Her own world is the inspiration for her fictional world.

Henry Austen

Her family must have helped and encouraged her. Claire Tomalin writes,

Jane Austen managed the day-to-day routines of a novelist with an efficiency and discipline worthy of her naval brothers. The famous account of her working habits, given by her nephew, credits her with almost miraculous powers in stopping and starting under interruption.(her nephews account describes how she would stop and hide her small pieces of paper under a blotter at the slightest interruption and she used the sound of a creaking door as people entered the house to signal to her.)The picture is admirable, exasperating, painful and can only be half true………..there must have been times when the other inhabitants of the cottage protected her silence with something more than the creaking door……encouragement and practical help came from Henry….. Henry’s army connections may have helped to make the deal with
( Egerton the publisher) and Henry and Eliza’s money paid for the printing.”

Grasmere Lake

Just over two hundred and fifty miles north of Steventon, in the County of Cumbria, also know as the Lake District, during the same period of time, lived Dorothy and William Wordsworth. They lived in various houses but the most famous is a small cottage, called Dove Cottage at Grasmere, next to Grasmere Lake. It is surrounded by the steep hills and small mountains and streams of the Lake District, the Scafell Pikes, and Dungeon Ghyll. The sights and sounds they lived with were those of tumbling water as it dropped down mountain falls, the hiss of fast-moving mountain streams, and the wild rugged terrain of the Lake District’s fells, crags, tarns, and ghylls.

William Wordsworth, Benjamin Robert Haydon. Image @National Portrait Gallery

Like Jane, William was born into a large family (on the 7th April, 1770). He was the second of five children born to John Wordsworth and Ann Cookson in a large house in the centre of Cockermouth, his father being the legal representative for James Lowther, the 1st Earl of Lonsdale. At the bottom of the garden was a wild stream and this is one of the first things that attracted William’s attention. Dorothy his younger sister was born a year later. She was to become his mentor and supporter throughout her life. Their brothers did well in life as indeed Jane’s brothers did. John Wordsworth became a naval captain but was lost at sea in 1805, the youngest, Christopher became master of Trinity College Cambridge. William himself went to St John’s College Cambridge and achieved his bachelor degree in 1791. Richard became a lawyer. None of the children in the family got close to their father who remained distant to them. Williams’ father did, however, encourage William to read poetry and William, similar to Jane at the Steventon Rectory, had access to his father’s extensive library.

To illustrate the influences and the type of encouragement that William drew on to write his poetry, the time that Dorothy and he lived at Dove Cottage is a prime period to focus on.

Dorothy kept a journal covering the years they spent together at Dove Cottage. She opens the journal in the year 1800. It is May 14th, a Wednesday.

“I resolve to write a journal of the time till William and John return and I set about keeping my resolve, because I will not quarrel with myself, and because I shall give William pleasure by it when he comes home again.”

This start to her journal gives us an insight into her total dedication towards her brother. It is written for William’s pleasure, not hers. She was a selfless soul. William, and indeed their friend and poet Coleridge, who also came to live in the lake District, often referred to Dorothy’s journal. It is almost as though William used his sister’s writing to affirm his own responses and feelings about nature.

Here is an extract that shows how William’s poems and Dorothy’s journal are connected. Dorothy would have written this first of course. It is written beautifully and with passion. It shows her connection to nature.

April 15th 1801

“ When we were in the woods beyond Gowbarrow Park we saw a few daffodils close to the waterside. We fancied that the lake had floated the seeds ashore, and that the little colony had so sprung up. But as we went along there were more and yet more; and at last under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful. They grew among the mossy stones about and about them; some rested their heads upon these stones as on a pillow for weariness; and the rest tossed and reeled and danced, and seemed as if they verily laughed with the wind, that blew upon them over the lake; they looked so gay, ever glancing, ever changing.”

Lake District daffodils

Remember that William and Dorothy were together on this walk and saw the same sight. Soon after this entry William wrote this. It is the second verse of, The Daffodils;

Continuous as the stars that shine
And twinkle on the Milky Way,
They stretched in never ending line
Along the margin of a bay
Ten thousand saw I at a glance
Tossing their heads in sprightly dance”

It appears apparent that Dorothy’s words are used by William. “Tossed”, “danced”, repeat Dorothy’s imagery. He is relying on Dorothy’s emotional response as much as his own. They were very close as brother and sister and would have talked about their feelings of the event. But William’s heightened emotional response in this poem is the same as Dorothy’s.

It worked both ways. Williams’s poetry informed Dorothy’s emotional response too. On Monday may 26th, 1800, Mary writes;

I walked toward Rydal, and turned aside at my favourite field. The air and the lake were still……I could distinguish objects, the woods trees and houses. Two or three different kinds of birds sang at intervals on the opposite shore. I sate til I could hardly drag myself away. I grew so sad. “When pleasant thoughts,”……

Here Dorothy begins to quote a poem William had written two years earlier in 1798

I heard a thousand blended notes,
While in a grove I sate reclined,
In that sweet mood when pleasant thoughts
Bring sad thoughts to the mind.”

She is virtually re-enacting the poem. And of course Dorothy’s journal may well have informed Williams writing of the poem in the first place.

It is easy to see William Wordworths poems, in a quick superficial reading, as merely nice emotional descriptions of nature. Of course they are far more than that. Dorothy herself in her journal warns us that when reading William’s poems, to “look deep.”

In this article I wanted to show the different influences of two of the greatest writers of the late eighteenth century and early nineteenth century. It was not meant to be an analysis of their writing. However, to be fair to William Wordsworth it should be pointed out that his poems must be read carefully and a few times over. You begin to notice his emotional attachment to nature – he calls it his soul “linking” with the spirit of the natural world. It is ultimately about man’s connection with nature and being able to communicate with it, empathise with it, and know that you are part of it.  Wordsworth warns,

“And much it grieved my heart to think

What man has made of man.”

This sounds very modern and apt for our own times.

Jane Austen and William Wordsworth appear to be two very different writers, but I think placing them together shows that one is deeply concerned with the interrelationships of families and small communities and the other is deeply concerned about man’s relationship with nature. The themes and focus of Jane Austen’s and William Wordsworth’s writing were opposite, but they were closely connected too. Both writers wrote about what affected and concerned them as human beings. They show the human response to two different aspects of the world we live in and that we all share. It is interesting to note that Wordsworth obviously related and socialised with people and that Jane obviously noticed and interacted with the natural world about her in Hampshire, but both had a different emotional and intellectual responses to the world they inhabited rooted in their own personal experiences.

References:

Austen J. ( first published 1818) `(1998) Persuasion ; Penguin Classics

Clark C. (ed) (1986) Home At Grasmere : extracts from the journal of Dorothy Wordsworth ( written between 1800 and 1803) and from the poems of William Wordsworth: Penguin Classics

Le Faye D. (1995) Jane Austen’s letters (New Edition): Oxford University Press

Tomlin C. (2000) Jane Austen A Life: Penguin Books

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I recently finished reading a charming book by Cora Harrison, I Was Jane Austen’s Best Friend, in which Jane Austen has just reached the age of 15. It is February, 1791, and 16-year-old Jenny Cooper has slipped out of Mrs. Crawley’s boarding school to post a letter to Steventon Rectory warning Rev. and Mrs. Austen that their daughter, Jane, is seriously ill. By doing so, Jenny risks her reputation, for she ventures out alone and unescorted in a rough area of Portsmouth.

This scene sets the stage for the rest of the novel, in which young Jenny Cooper chronicles the months she spends with her best friend Jane and the Austens at the rectory.  The girls are avid writers: while Jane spins her creative tales, Jenny describes their routine days in her journal. And what days they were! Jenny observes Jane’s family and friends minutely: her gentle father and stern mother; her charming favorite brother, Henry, and the mentally challenged George, who lived with another family; Cassandra’s love for Tom Fowle; exotic cousin Eliza; the well-dressed Bigg sisters; and other vivid portraits of the people who inhabited Jane’s and Jenny’s world.

Jane Austen reads at Jenny's bedside. Image@Susan Hellard

The scenes are culled from actual events in Jane’s life and from letters that others wrote about her (for none of her letters from that time have survived). As teenagers are wont to do, Jenny and Jane dream of romantic encounters and parties and balls, engage in outdoor activities, and while away their time reading and writing and play-acting, or wishing for pretty gowns.

Image @Susan Hellard

The scene in which a pinch-penny Mrs. Austen must decide which color muslin would look best for ball gowns for all three girls (Cassandra, Jane and Jenny) is priceless, and the descriptions of tender romance between Cassandra and young Tom are heartbreaking to those who know he will die before they can be married. Tom LeFroy makes a suitably short appearance, and Jenny meets handsome Captain Thomas Williams, who in real life became engaged to her within three weeks of their first meeting, and whom she later married before her own untimely death.

Jenny witnessed Jane writing constantly and being inspired by the people she observed. For example, Jenny’s shrill sister-in-law, Augusta, becomes the prototype for Mrs. Elton and Mr. Collins is somewhat inspired by Jenny’s preachy brother.

Augusta. Image @Susan Hellard

While I found the book a delight, not everyone has been thrilled with its purchase. The American cover of I Was Jane Austen’s Best Friend is a bit mature for a novel that targets young girls of eleven or so, but it explains the reason why so many older readers are buying the book.

This is what a high school  reviewer had to say about the U.S. cover: “… if you plan on buying [the book] at any time soon, make sure to check out the U.K. version… the cover art is so much cuter!” In fact, the U.K. cover (below) enjoyed the author’s full approval, and was drawn by Susan Hellard, the artist responsible for the charming illustrations displayed in this post and that are sprinkled throughout the book.

Page from the book, in which Jane describes some of her siblings. The style of writing is aimed at a very young audience. Drawings @Susan Hellard.

In writing this novel, Cora Harrison has kept her very young audience in mind. As you can see from the sample page above, the sentences are short and written in plain English, speech patterns and terms from the 18th century are kept to a minimum, the romance is sweet, and the story is written from a young lady’s point of view. While Ms.Harrison hoped that this book would introduce Jane Austen to very young readers, she also envisioned that mothers and grandmothers would enjoy reading the novel as well.

The book's U.K. cover

I have gone into great detail about the author’s intentions for a reason. Reviews of this book, while largely favorable, are varied. Lower rankings come largely from disappointed adult readers who expected a mature romance and a “more interesting plot.” But as the author wrote to me: “I didn’t want to do an in-depth analysis of love. I wanted to do a fun book, romantic in an old-fashioned style.”

Purists have also decried the changes in facts, dates, and characters, but isn’t it the novelist’s prerogative to change historical facts in order to move the plot forward? Besides, Ms. Harrison made her reasons for these changes clear in her Author’s Note in back of the book, which should have been placed as a Foreword. I also think that annotated notes for juvenile readers (such as those included for book clubs), would help adults explain some of the more obscure facts about the Georgian period to their children and place events in the novel in context.

Be that as it may, I rarely read review books from cover to cover, but I kept reading this one until I was finished (and then wished I had a daughter to give it to). This is a sweet book, filled with useful details about life in England 200 years ago. Ms. Harrison’s conjectures on how the Austens lived and interacted with each other is based on the letters and information about Jane that survived. After reading these pages, it is clear that Cora Harrison wrote her novel as an homage to Jane Austen. She also is an author with a mission. “As a teacher I am realistic enough to know that girls won’t automatically read Jane Austen unless their interest is awakened and I hoped to do that…”

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