Jane Austen

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Jane Austen

Birthplace: Steventon, Hampshire, England, United Kingdom
Death: July 18, 1817 (41)
Winchester, Hampshire, England, United Kingdom (Addison's disease)
Place of Burial: Winchester, Hampshire, England, United Kingdom
Immediate Family:

Daughter of Rev. George Austen and Cassandra Austen
Sister of Rev. James Austen; George Austen; Edward Austen Knight; Rev. Henry Thomas Austen; Cassandra Austen and 2 others

Occupation: Published Author, Author
Managed by: Private User
Last Updated:

About Jane Austen

From Wikipedia, the free encyclopedia

Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose works of romantic fiction set among the gentry earned her a place as one of the most widely read writers in English literature, her realism and biting social commentary cementing her historical importance among scholars and critics.[1]

Austen lived her entire life as part of a close-knit family located on the lower fringes of the English gentry.[2] She was educated primarily by her father and older brothers as well as through her own reading. The steadfast support of her family was critical to her development as a professional writer.[3] Her artistic apprenticeship lasted from her teenage years until she was about 35 years old. During this period, she experimented with various literary forms, including the epistolary novel which she tried then abandoned, and wrote and extensively revised three major novels and began a fourth.[B] From 1811 until 1816, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published posthumously in 1818, and began a third, which was eventually titled Sanditon, but died before completing it.

Austen's works critique the novels of sensibility of the second half of the eighteenth century and are part of the transition to nineteenth-century realism.[4][C] Her plots, though fundamentally comic,[5] highlight the dependence of women on marriage to secure social standing and economic security.[6] Her work brought her little personal fame and only a few positive reviews during her lifetime, but the publication in 1869 of her nephew's A Memoir of Jane Austen introduced her to a wider public, and by the 1940s she had become widely accepted in academia as a great English writer. The second half of the twentieth century saw a proliferation of Austen scholarship and the emergence of a Janeite fan culture.

From Wikipedia, the free encyclopedia

A watercolour and pencil sketch of Jane Austen, believed to be drawn from life by her sister Cassandra (c. 1810)[A]Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose works of romantic fiction set among the gentry have earned her a place as one of the most widely read and most beloved writers in English literature.[1] Amongst scholars and critics, Austen's realism and biting social commentary have cemented her historical importance as a writer.

Austen lived her entire life as part of a small and close-knit family located on the lower fringes of English gentry.[2] She was educated primarily by her father and older brothers as well as through her own reading. The steadfast support of her family was critical to Austen's development as a professional writer.[3] Austen's artistic apprenticeship lasted from her teenage years until she was about thirty-five years old. During this period, she experimented with various literary forms, including the epistolary novel which she tried and then abandoned, and wrote and extensively revised three major novels and began a fourth.[B] From 1811 until 1816, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1816), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published posthumously in 1818, and began a third, which was eventually titled Sanditon, but died before completing it.

Austen's works critique the novels of sensibility of the second half of the eighteenth century and are part of the transition to nineteenth-century realism.[4][C] Austen's plots, though fundamentally comic,[5] highlight the dependence of women on marriage to secure social standing and economic security.[6] Like those of Samuel Johnson, one of the strongest influences on her writing, her works are concerned with moral issues.[7]

During Austen's lifetime, because she chose to publish anonymously, her works brought her little personal fame and only a few positive reviews. Through the mid-nineteenth century, her novels were admired mainly by members of the literary elite. However, the publication of her nephew's A Memoir of Jane Austen in 1869 introduced her to a far wider public as an appealing personality and kindled popular interest in her works. By the 1940s, Austen had become widely accepted in academia as a "great English writer". The second half of the twentieth century saw a proliferation of Austen scholarship, which explored many aspects of her novels: artistic, ideological, and historical. In popular culture, a Janeite fan culture has developed, centered on Austen's life, her works, and the various film and television adaptations of them.

Contents [hide] 1 Biography 1.1 Family 1.2 Early life and education 1.3 Juvenilia 1.4 Adulthood 1.5 Early novels 1.6 Bath and Southampton 1.7 Chawton 1.8 Published author 1.9 Illness and death 1.10 Posthumous publication 2 Reception 2.1 Contemporary responses 2.2 Nineteenth century 2.3 Twentieth century and beyond 3 List of works 4 See also 5 Notes 6 References 7 Bibliography 8 External links

[edit] Biography Further information: Timeline of Jane Austen Biographical information concerning Jane Austen is "famously scarce", according to one biographer.[8] Only some personal and family letters remain (by one estimate only 160 out of Austen's 3,000 letters are extant),[9] and her sister Cassandra (to whom most of the letters were originally addressed) burned "the greater part" of the ones she kept and censored those she did not destroy.[10] Other letters were destroyed by the heirs of Admiral Francis Austen, Jane's brother.[11] Most of the biographical material produced for fifty years after Austen's death was written by her relatives and reflects the family's biases in favour of "good quiet Aunt Jane". Scholars have unearthed little information since.[12]

[edit] Family

Silhouette of Cassandra Austen, Jane's sister and closest friendAusten's parents, William George Austen (1731–1805), and his wife, Cassandra (1739–1827), were members of substantial gentry families.[13] George was descended from a family of woollen manufacturers which had risen through the professions to the lower ranks of the landed gentry.[14] Cassandra was a member of the prominent Leigh family; they married on 26 April 1764 at Walcot Church in Bath.[15] From 1765 until 1801, that is, for much of Jane's life, George Austen served as the rector of the Anglican parishes at Steventon, Hampshire[16] and a nearby village. From 1773 until 1796, he supplemented this income by farming and by teaching three or four boys at a time who boarded at his home.[17]

Austen's immediate family was large: six brothers—James (1765–1819), George (1766–1838), Edward (1767–1852), Henry Thomas (1771–1850), Francis William (Frank) (1774–1865), Charles John (1779–1852)—and one sister, Cassandra Elizabeth (1773–1845), who, like Jane, died unmarried. Cassandra was Austen's closest friend and confidante throughout her life.[18] Of her brothers, Austen felt closest to Henry, who became a banker and, after his bank failed, an Anglican clergyman. Henry was also his sister's literary agent. His large circle of friends and acquaintances in London included bankers, merchants, publishers, painters, and actors: he provided Austen with a view of social worlds not normally visible from a small parish in rural Hampshire.[19] George was sent to live with a local family at a young age because, as Austen biographer Le Faye describes it, he was "mentally abnormal and subject to fits".[20] He may also have been deaf and mute.[20] Charles and Frank served in the navy, both rising to the rank of admiral. Edward was adopted by his fourth cousin, Thomas Knight, inheriting Knight's estate and taking his name in 1812.[21]

[edit] Early life and education

Steventon rectory, as depicted in A Memoir of Jane Austen, was in a valley and surrounded by meadows.[22]Austen was born on 16 December 1775 at Steventon rectory and publicly christened on 5 April 1776.[23] After a few months at home, her mother placed Austen with Elizabeth Littlewood, a woman living nearby, who nursed and raised Austen for a year or eighteen months.[24] In 1783, according to family tradition, Jane and Cassandra were sent to Oxford to be educated by Mrs. Ann Cawley and they moved with her to Southampton later in the year. Both girls caught typhus and Jane nearly died.[25] Austen was subsequently educated at home, until leaving for boarding school with her sister Cassandra early in 1785. The school curriculum probably included some French, spelling, needlework, dancing and music and, perhaps, drama. By December 1786, Jane and Cassandra had returned home because the Austens could not afford to send both of their daughters to school.[26]

Austen acquired the remainder of her education by reading books, guided by her father and her brothers James and Henry.[27] George Austen apparently gave his daughters unfettered access to his large and varied library, was tolerant of Austen's sometimes risqué experiments in writing, and provided both sisters with expensive paper and other materials for their writing and drawing.[28] According to Park Honan, a biographer of Austen, life in the Austen home was lived in "an open, amused, easy intellectual atmosphere" where the ideas of those with whom the Austens might disagree politically or socially were considered and discussed.[29] After returning from school in 1786, Austen "never again lived anywhere beyond the bounds of her immediate family environment".[30]

Private theatricals were also a part of Austen's education. From when she was seven until she was thirteen, the family and close friends staged a series of plays, including Richard Sheridan's The Rivals (1775) and David Garrick's Bon Ton. While the details are unknown, Austen would certainly have joined in these activities, as a spectator at first and as a participant when she was older.[31] Most of the plays were comedies, which suggests one way in which Austen's comedic and satirical gifts were cultivated.[32]

[edit] Juvenilia

Portrait of Henry IV. Declaredly written by "a partial, prejudiced, & ignorant Historian", The History of England was illustrated by Austen's sister Cassandra (c. 1790).Perhaps as early as 1787, Austen began to write poems, stories, and plays for her own and her family's amusement.[33] Austen later compiled "fair copies" of 29 of these early works into three bound notebooks, now referred to as the Juvenilia, containing pieces originally written between 1787 and 1793.[34] There is manuscript evidence that Austen continued to work on these pieces as late as the period 1809–11, and that her niece and nephew, Anna and James Edward Austen, made further additions as late as 1814.[35] Among these works are a satirical novel in letters titled Love and Freindship [sic], in which she mocked popular novels of sensibility,[36] and The History of England, a manuscript of 34 pages accompanied by 13 watercolour miniatures by her sister Cassandra.

Austen's History parodied popular historical writing, particularly Oliver Goldsmith's History of England (1764).[37] Austen wrote, for example: "Henry the 4th ascended the throne of England much to his own satisfaction in the year 1399, after having prevailed on his cousin & predecessor Richard the 2nd, to resign it to him, & to retire for the rest of his Life to Pomfret Castle, where he happened to be murdered."[38] Austen's Juvenilia are often, according to scholar Richard Jenkyns, "boisterous" and "anarchic"; he compares them to the work of eighteenth-century novelist Laurence Sterne and the twentieth-century comedy group Monty Python.[39]

[edit] Adulthood As Austen grew into adulthood, she continued to live at her parents' home, carrying out those activities normal for women of her age and social standing: she practiced the pianoforte, assisted her sister and mother with supervising servants, and attended female relatives during childbirth and older relatives on their deathbeds.[40] She sent short pieces of writing to her newborn nieces Fanny Catherine and Jane Anna Elizabeth.[41] Austen was particularly proud of her accomplishments as a seamstress.[42] She also attended church regularly, socialized frequently with friends and neighbours,[43] and read novels—often of her own composition—aloud with her family in the evenings. Socializing with the neighbours often meant dancing, either impromptu in someone's home after supper or at the balls held regularly at the assembly rooms in the town hall.[44] Her brother Henry later said that "Jane was fond of dancing, and excelled in it".[45]

In 1793, Austen began and then abandoned a short play, later entitled Sir Charles Grandison or the happy Man, a comedy in 6 acts, which she returned to and completed around 1800. This was a short parody of various school textbook abridgments of Austen's favourite contemporary novel, The History of Sir Charles Grandison (1753), by Samuel Richardson.[46] Honan speculates that at some point not long after writing Love and Freindship [sic] in 1789, Austen decided to "write for profit, to make stories her central effort", that is, to become a professional writer.[47] Whenever she made that decision, beginning in about 1793, Austen began to write longer, more sophisticated works.[47]

Between 1793 and 1795, Austen wrote Lady Susan, a short epistolary novel, usually described as her most ambitious and sophisticated early work.[48] It is unlike any of Austen's other works. Austen biographer Claire Tomalin describes the heroine of the novella as a sexual predator who uses her intelligence and charm to manipulate, betray, and abuse her victims, whether lovers, friends or family. Tomalin writes: "Told in letters, it is as neatly plotted as a play, and as cynical in tone as any of the most outrageous of the Restoration dramatists who may have provided some of her inspiration....It stands alone in Austen's work as a study of an adult woman whose intelligence and force of character are greater than those of anyone she encounters."[49]

[edit] Early novels After finishing Lady Susan, Austen attempted her first full-length novel—Elinor and Marianne. Her sister Cassandra later remembered that it was read to the family "before 1796" and was told through a series of letters. Without surviving original manuscripts, there is no way to know how much of the original draft survived in the novel published in 1811 as Sense and Sensibility.[50]

Thomas Langlois Lefroy, Lord Chief Justice of Ireland, by W. H. Mote (1855); in old age, Lefroy admitted to a nephew that he had been in love with Jane Austen: "It was boyish love."[51]When Austen was twenty, Tom Lefroy, a nephew of neighbours, visited Steventon from December 1795 to January 1796. He had just finished a university degree and was moving to London to train as a barrister. Lefroy and Austen would have been introduced at a ball or other neighbourhood social gathering, and it is clear from Austen's letters to Cassandra that they spent considerable time together: "I am almost afraid to tell you how my Irish friend and I behaved. Imagine to yourself everything most profligate and shocking in the way of dancing and sitting down together."[52] The Lefroy family intervened and sent him away at the end of January. Marriage was impractical, as both Lefroy and Austen must have known. Neither had any money, and he was dependent on a great-uncle in Ireland to finance his education and establish his legal career. If Tom Lefroy later visited Hampshire, he was carefully kept away from the Austens, and Jane Austen never saw him again.[53]

Austen began work on a second novel, First Impressions, in 1796 and completed the initial draft in August 1797 when she was only 21 (it later became Pride and Prejudice); as with all of her novels, Austen read the work aloud to her family as she was working on it and it became an "established favourite".[54] At this time, her father made the first attempt to publish one of her novels. In November 1797, George Austen wrote to Thomas Cadell, an established publisher in London, to ask if he would consider publishing "a Manuscript Novel, comprised in three Vols. about the length of Miss Burney's Evelina" (First Impressions) at the author's financial risk. Cadell quickly returned Mr. Austen's letter, marked "Declined by Return of Post". Austen may not have known of her father's efforts.[55] Following the completion of First Impressions, Austen returned to Elinor and Marianne and from November 1797 until mid-1798, revised it heavily; she eliminated the epistolary format in favour of third-person narration and produced something close to Sense and Sensibility.[56]

During the middle of 1798, after finishing revisions of Elinor and Marianne, Austen began writing a third novel with the working title Susan—later Northanger Abbey—a satire on the popular Gothic novel.[57] Austen completed her work about a year later. In early 1803, Henry Austen offered Susan to Benjamin Crosby, a London publisher, who paid £10 for the copyright. Crosby promised early publication and went so far as to advertise the book publicly as being "in the press", but did nothing more. The manuscript remained in Crosby's hands, unpublished, until Austen repurchased the copyright from him in 1816.[58]

[edit] Bath and Southampton

Royal Crescent in BathIn December 1800, Rev. Austen unexpectedly announced his decision to retire from the ministry, leave Steventon, and move the family to Bath. While retirement and travel were good for the elder Austens, Jane Austen was shocked to be told she was moving from the only home she had ever known.[59] An indication of Austen's state of mind is her lack of productivity as a writer during the time she lived at Bath. She was able to make some revisions to Susan, and she began and then abandoned a new novel, The Watsons, but there was nothing like the productivity of the years 1795–99.[60] Tomalin suggests this reflects a deep depression disabling her as a writer, but Honan disagrees, arguing Austen wrote or revised her manuscripts throughout her creative life, except for a few months after her father died.[61]

In December 1802, Austen received her only proposal of marriage. She and her sister visited Alethea and Catherine Bigg, old friends who lived near Basingstoke. Their younger brother, Harris Bigg-Wither, had recently finished his education at Oxford and was also at home. Bigg-Wither proposed and Austen accepted. As described by Caroline Austen, Jane's niece, and Reginald Bigg-Wither, a descendant, Harris was not attractive—he was a large, plain-looking man who spoke little, stuttered when he did speak, was aggressive in conversation, and almost completely tactless. However, Austen had known him since both were young and the marriage offered many practical advantages to Austen and her family. He was the heir to extensive family estates located in the area where the sisters had grown up. With these resources, Austen could provide her parents a comfortable old age, give Cassandra a permanent home and, perhaps, assist her brothers in their careers. By the next morning, Austen realised she had made a mistake and withdrew her acceptance.[62] No contemporary letters or diaries describe how Austen felt about this proposal.[63] In 1814, Austen wrote a letter to her niece, Fanny Knight, who had asked for advice about a serious relationship, telling her that "having written so much on one side of the question, I shall now turn around & entreat you not to commit yourself farther, & not to think of accepting him unless you really do like him. Anything is to be preferred or endured rather than marrying without Affection".[64]

In 1804, while living in Bath, Austen started but did not complete a new novel, The Watsons. The story centres on an invalid clergyman with little money and his four unmarried daughters. Sutherland describes the novel as "a study in the harsh economic realities of dependent women's lives".[65] Honan suggests, and Tomalin agrees, that Austen chose to stop work on the novel after her father died on 21 January 1805 and her personal circumstances resembled those of her characters too closely for her comfort.[66]

Rev. Austen's final illness had struck suddenly, leaving him, as Austen reported to her brother Francis, "quite insensible of his own state", and he died quickly.[67] Jane, Cassandra, and their mother were left in a precarious financial situation. Edward, James, Henry, and Francis Austen pledged to make annual contributions to support their mother and sisters.[68] For the next four years, the family's living arrangements reflected their financial insecurity. They lived part of the time in rented quarters in Bath and then, beginning in 1806, in Southampton, where they shared a house with Frank Austen and his new wife. A large part of this time they spent visiting various branches of the family.[69]

On 5 April 1809, about three months before the family's move to Chawton, Austen wrote an angry letter to Richard Crosby, offering him a new manuscript of Susan if that was needed to secure immediate publication of the novel, and otherwise requesting the return of the original so she could find another publisher. Crosby replied he had not agreed to publish the book by any particular time, or at all, and that Austen could repurchase the manuscript for the £10 he had paid her and find another publisher. However, Austen did not have the resources to repurchase the book.[70]

[edit] Chawton

The cottage in Chawton where Jane Austen lived during the last eight years of her life, now Jane Austen's House MuseumAround early 1809, Austen's brother Edward offered his mother and sisters a more settled life—the use of a large cottage in Chawton village[71] that was part of Edward's nearby estate, Chawton House. Jane, Cassandra, and their mother moved into Chawton cottage on 7 July 1809.[72] In Chawton, life was quieter than it had been since the family's move to Bath in 1800. The Austens did not socialise with the neighbouring gentry and entertained only when family visited. Austen's niece Anna described the Austen family's life in Chawton: "It was a very quiet life, according to our ideas, but they were great readers, and besides the housekeeping our aunts occupied themselves in working with the poor and in teaching some girl or boy to read or write."[73] Austen wrote almost daily, but privately, and seems to have been relieved of some household responsibilities to give her more opportunity to write.[74] In this setting, she was able to be productive as a writer once more.[75]

[edit] Published author

First edition title page from Sense and Sensibility, Jane Austen's first published novel (1811)During her time at Chawton, Jane Austen successfully published four novels, which were generally well-received. Through her brother Henry, the publisher Thomas Egerton agreed to publish Sense and Sensibility,[D] which appeared in October 1811. Reviews were favourable and the novel became fashionable among opinion-makers;[76] the edition sold out by mid-1813.[E] Austen's earnings from Sense and Sensibility provided her with some financial and psychological independence.[77] Egerton then published Pride and Prejudice, a revision of First Impressions, in January 1813. He advertised the book widely and it was an immediate success, garnering three favourable reviews and selling well. By October 1813, Egerton was able to begin selling a second edition.[78] Mansfield Park was published by Egerton in May 1814. While Mansfield Park was ignored by reviewers, it was a great success with the public. All copies were sold within six months, and Austen's earnings on this novel were larger than for any of her other novels.[79]

Austen learned that the Prince Regent admired her novels and kept a set at each of his residences.[F] In November 1815, the Prince Regent's librarian invited Austen to visit the Prince's London residence and hinted Austen should dedicate the forthcoming Emma to the Prince. Though Austen disliked the Prince, she could scarcely refuse the request.[80] She later wrote Plan of a Novel, according to hints from various quarters, a satiric outline of the "perfect novel" based on the librarian's many suggestions for a future Austen novel.[81]

In mid-1815, Austen moved her work from Egerton to John Murray, a better known London publisher,[G] who published Emma in December 1815 and a second edition of Mansfield Park in February 1816. Emma sold well but the new edition of Mansfield Park did not, and this failure offset most of the profits Austen earned on Emma. These were the last of Austen's novels to be published during her lifetime.[82]

While Murray prepared Emma for publication, Austen began to write a new novel she titled The Elliots, later published as Persuasion. She completed her first draft in July 1816. In addition, shortly after the publication of Emma, Henry Austen repurchased the copyright for Susan from Crosby. Austen was forced to postpone publishing either of these completed novels by family financial troubles. Henry Austen's bank failed in March 1816, depriving him of all of his assets, leaving him deeply in debt and losing Edward, James, and Frank Austen large sums. Henry and Frank could no longer afford the contributions they had made to support their mother and sisters.[83]

[edit] Illness and death

Jane Austen is buried in Winchester Cathedral.Early in 1816, Jane Austen began to feel unwell. She ignored her illness at first and continued to work and to participate in the usual round of family activities. By the middle of that year, her decline was unmistakable to Austen and to her family, and Austen's physical condition began a long, slow, and irregular deterioration culminating in her death the following year.[84] The majority of Austen biographers rely on Dr. Vincent Cope's tentative 1964 retrospective diagnosis and list her cause of death as Addison's disease. However, her final illness has also been described as Hodgkin's lymphoma.[H] Recent work by Katherine White of Britain's Addison’s Disease Self Help Group suggests that Austen likely died of bovine tuberculosis,[85]a disease (now) commonly associated with drinking unpasteurized milk.

Austen continued to work in spite of her illness. She became dissatisfied with the ending of The Elliots and rewrote the final two chapters, finishing them on 6 August 1816.[I] In January 1817, Austen began work on a new novel she called The Brothers, later titled Sanditon upon its first publication in 1925, and completed twelve chapters before stopping work in mid-March 1817, probably because her illness prevented her from continuing.[86] Austen made light of her condition to others, describing it as "Bile" and rheumatism, but as her disease progressed she experienced increasing difficulty walking or finding the energy for other activities. By mid-April, Austen was confined to her bed. In May, their brother Henry escorted Jane and Cassandra to Winchester for medical treatment. Austen died in Winchester on 18 July 1817, at the age of 41. Through his clerical connections, Henry arranged for his sister to be buried in the north aisle of the nave of Winchester Cathedral. The epitaph composed by her brother James praises Austen's personal qualities, expresses hope for her salvation, mentions the "extraordinary endowments of her mind", but does not explicitly mention her achievements as a writer.[87]

[edit] Posthumous publication After Austen's death, Cassandra and Henry Austen arranged with Murray for the publication of Persuasion and Northanger Abbey as a set in December 1817.[J] Henry Austen contributed a Biographical Note which for the first time identified his sister as the author of the novels. Tomalin describes it as "a loving and polished eulogy".[88] Sales were good for a year—only 321 copies remained unsold at the end of 1818—and then declined. Murray disposed of the remaining copies in 1820, and Austen's novels remained out of print for twelve years.[89] In 1832, publisher Richard Bentley purchased the remaining copyrights to all of Austen's novels and, beginning in either December 1832 or January 1833, published them in five illustrated volumes as part of his Standard Novels series. In October 1833, Bentley published the first collected edition of Austen's works. Since then, Austen's novels have been continuously in print.[90]

[edit] Reception Main articles: Reception history of Jane Austen, Janeite, and Jane Austen in popular culture [edit] Contemporary responses

In 1816, the editors of The New Monthly Magazine noted Emma's publication but chose not to review it.[K]Austen's works brought her little personal renown because they were published anonymously. Although her novels quickly became fashionable among opinion-makers, such as Princess Charlotte Augusta, daughter of the Prince Regent, they received only a few published reviews.[91] Most of the reviews were short and on balance favourable, although superficial and cautious.[92] They most often focused on the moral lessons of the novels.[93] Sir Walter Scott, a leading novelist of the day, contributed one of them, anonymously. Using the review as a platform from which to defend the then disreputable genre of the novel, he praised Austen's realism.[94] The other important early review of Austen's works was published by Richard Whately in 1821. He drew favourable comparisons between Austen and such acknowledged greats as Homer and Shakespeare, praising the dramatic qualities of her narrative. Whately and Scott set the tone for almost all subsequent nineteenth-century Austen criticism.[95]

[edit] Nineteenth century Because Austen's novels failed to conform to Romantic and Victorian expectations that "powerful emotion [be] authenticated by an egregious display of sound and colour in the writing",[96] nineteenth-century critics and audiences generally preferred the works of Charles Dickens and George Eliot.[97] Though Austen's novels were republished in Britain beginning in the 1830s and remained steady sellers, they were not bestsellers.[98]

One of the first two published illustrations of Pride and Prejudice, from the Richard Bentley edition.[99] Caption reads: "She then told him [Mr Bennett] what Mr Darcy had voluntarily done for Lydia. He heard her with astonishment."Austen had many admiring readers in the nineteenth century who considered themselves part of a literary elite: they viewed their appreciation of Austen's works as a mark of their cultural taste. Philosopher and literary critic George Henry Lewes expressed this viewpoint in a series of enthusiastic articles published in the 1840s and 1850s.[100] This theme continued later in the century with novelist Henry James, who referred to Austen several times with approval and on one occasion ranked her with Shakespeare, Cervantes, and Henry Fielding as among "the fine painters of life".[101]

The publication of James Edward Austen-Leigh's A Memoir of Jane Austen in 1869 introduced Austen to a wider public as "dear aunt Jane", the respectable maiden aunt. Publication of the Memoir spurred the reissue of Austen's novels—the first popular editions were released in 1883 and fancy illustrated editions and collectors' sets quickly followed.[102] Author and critic Leslie Stephen described the popular mania that started to develop for Austen in the 1880s as "Austenolatry".[103] Around the turn of the century, members of the literary elite reacted against the popularization of Austen. They referred to themselves as Janeites in order to distinguish themselves from the masses who did not properly understand her works.[104] For example, James responded negatively to what he described as "a beguiled infatuation" with Austen, a rising tide of public interest that exceeded Austen's "intrinsic merit and interest".[105]

During the last quarter of the nineteenth century, the first books of criticism on Austen were published. In fact, after the publication of the Memoir, more criticism was published on Austen in two years than had appeared in the previous fifty.[106]

[edit] Twentieth century and beyond Several important works paved the way for Austen's novels to become a focus of academic study. The first important milestone was a 1911 essay by Oxford Shakespearean scholar A. C. Bradley, which is "generally regarded as the starting-point for the serious academic approach to Jane Austen".[107] In it, he established the groupings of Austen's "early" and "late" novels, which are still used by scholars today.[108] The second was R. W. Chapman's 1923 edition of Austen's collected works. Not only was it the first scholarly edition of Austen's works, it was also the first scholarly edition of any English novelist. The Chapman text has remained the basis for all subsequent published editions of Austen's works.[109] With the publication in 1939 of Mary Lascelles's Jane Austen and Her Art, the academic study of Austen took hold.[110] Lascelles's innovative work included an analysis of the books Jane Austen read and the effect of her reading on her work, an extended analysis of Austen's style, and her "narrative art". At the time, concern arose over the fact that academics were taking over Austen criticism and it was becoming increasingly esoteric—a debate that has continued to the beginning of the twenty-first century.[111]

Janeite cookiesIn a spurt of revisionist views in the 1940s, scholars approached Austen more sceptically and argued that she was a subversive writer. These revisionist views, together with F. R. Leavis's and Ian Watt's pronouncement that Austen was one of the great writers of English fiction, did much to cement Austen's reputation amongst academics.[112] They agreed that she "combined [Henry Fielding's and Samuel Richardson's] qualities of interiority and irony, realism and satire to form an author superior to both".[113] The period since World War II has seen more scholarship on Austen using a diversity of critical approaches, including feminist theory, and perhaps most controversially, postcolonial theory. However, the continuing disconnection between the popular appreciation of Austen, particularly by modern Janeites, and the academic appreciation of Austen has widened considerably.

Sequels, prequels, and adaptations of almost every sort have been based on the novels of Jane Austen, from soft-core pornography to fantasy.[114] Beginning in the middle of the nineteenth century, Austen family members published conclusions to her incomplete novels, and by 2000 there were over 100 printed adaptations.[115] The first film adaptation was the 1940 MGM production of Pride and Prejudice starring Laurence Olivier and Greer Garson.[116] BBC television dramatisations, which were first produced in the 1970s, attempted to adhere meticulously to Austen's plots, characterisations, and settings.[117] Starting with Emma Thompson's film of Sense and Sensibility and the BBC's immensely popular TV mini-series Pride and Prejudice, a great wave of Austen adaptations began to appear around 1995.[118]

Books and scripts that use the general storyline of Austen's novels but change or otherwise modernise the story also became popular at the end of the twentieth century. For example, Clueless (1995), Amy Heckerling's updated version of Emma, which takes place in Beverly Hills, became a cultural phenomenon and spawned its own television series.[119]

[edit] List of works Novels

Sense and Sensibility (1811) Pride and Prejudice (1813) Mansfield Park (1814) Emma (1815) Northanger Abbey (1817) (posthumous) Persuasion (1817) (posthumous) Short fiction

Lady Susan (1794, 1805) Unfinished fiction

The Watsons (1804) Sanditon (1817) Other works

Sir Charles Grandison (1793, 1800)[120] Plan of a Novel (1815) Poems Prayers Letters Juvenilia – Volume the First[121]

Frederic & Elfrida Jack & Alice Edgar & Emma Henry and Eliza The Adventures of Mr. Harley Sir William Mountague Memoirs of Mr. Clifford The Beautifull Cassandra Amelia Webster The Visit The Mystery The Three Sisters A beautiful description The generous Curate Ode to Pity Juvenilia – Volume the Second

Love and Freindship Lesley Castle The History of England A Collection of Letters The female philosopher The first Act of a Comedy A Letter from a Young Lady A Tour through Wales A Tale Juvenilia – Volume the Third

Evelyn Catharine, or the Bower

[edit] See also Family tree showing Jane Austen, her parents and her siblings Family tree showing Jane Austen's siblings and her nephews and nieces Timeline of Jane Austen Styles and themes of Jane Austen [edit] Notes ^ The original is unsigned but was believed by the family to have been made by Cassandra and remained in the family with the one signed sketch by Cassandra until 1920. The original sketch, according to relatives who knew Jane Austen well, was not a good likeness.[122] ^ These included the original versions of and revisions to the novels later published as Sense and Sensibility, Pride and Prejudice and Northanger Abbey, and a novel fragment, The Watsons.[123] ^ Oliver MacDonagh says that Sense and Sensibility "may well be the first English realistic novel" based on its detailed and accurate portrayal of what he calls "getting and spending" in an English gentry family.[124] ^ All of Jane Austen's novels except Pride and Prejudice were published "on commission", that is, at the author's financial risk. When publishing on commission, publishers would advance the costs of publication, repay themselves as books were sold and then charge a commission for each book sold, paying the rest to the author. If a novel did not recover its costs through sales, the author was responsible for them.[125] ^ Jane Austen's novels were published in larger editions than was normal for this period. The small size of the novel-reading public and the large costs associated with hand production (particularly the cost of hand-made paper) meant that most novels were published in editions of 500 copies or less, in order to reduce the risks to the publisher and the novelist. Even some of the most successful titles during this period were issued in editions of not more than 750 or 800 copies and later reprinted if demand continued. Austen's novels were published in larger editions, ranging from about 750 copies of Sense and Sensibility to about 2,000 copies of Emma. It is not clear whether the decision to print more copies than usual of Jane Austen's novels was driven by the publishers or the author. Since all but one of Jane Austen's books were originally published "on commission", the risks of overproduction were largely hers (or Cassandra's after her death) and publishers may have been more willing to produce larger editions than was normal practice when their own funds were at risk. Editions of popular works of non-fiction were often much larger.[126] ^ The Prince Regent's admiration was by no means reciprocated, however. In a letter of 16 February 1813 to her friend Martha Lloyd, Austen says (referring to the Prince's wife, whom he treated notoriously badly) "I hate her Husband".[127] ^ John Murray also published the work of Walter Scott and Lord Byron. In a letter to Cassandra dated 17/18 October 1816, Austen comments that "Mr. Murray's Letter is come; he is a Rogue of course, but a civil one."[128] ^ Addison's disease was often a secondary effect of tuberculosis or cancer. For detailed information concerning the retrospective diagnosis, its uncertainties and related controversies, see Honan, 391-92; Le Faye, A Family Record, 236; Grey, "Life of Jane Austen," The Jane Austen Companion, 282; and Wiltshire, Jane Austen and the Body, 221. Claire Tomalin prefers a diagnosis of a lymphoma such as Hodgkin's disease, arguing that Austen's known symptoms are more consistent with a lymphoma than with Addison's disease.[129] ^ The manuscript of the revised final chapters of Persuasion is the only surviving manuscript in Austen's own handwriting for any of her published novels.[130] ^ Cassandra and Henry Austen chose the final titles and the title page is dated 1818. ^ Honan points to "the odd fact that most of [Austen's] reviewers sound like Mr. Collins" as evidence that contemporary critics felt that works oriented toward the interests and concerns of women were intrinsically less important and less worthy of critical notice than works (mostly non-fiction) oriented towards men.[131] [edit] References ^ Southam, "Criticism, 1870-1940", The Jane Austen Companion, 102. ^ Lascelles, 2; for detail on "lower fringes", see Collins, ix-x. ^ Lascelles, 4-5; MacDonagh, 110-28; Honan, 79, 183-85; Tomalin, 66-68. ^ Litz, 3-14; Grundy, "Jane Austen and Literary Traditions", The Cambridge Companion to Jane Austen, 192-93; Waldron, "Critical Responses, Early", Jane Austen in Context, p. 83, 89-90; Duffy, "Criticism, 1814-1870", The Jane Austen Companion, 93-94. ^ Litz, 142. ^ MacDonagh, 66-75; Collins, 160-161. ^ Honan, 124-27; Trott, "Critical Responses, 1830-1970", Jane Austen in Context, 92. ^ Fergus, "Biography", Jane Austen in Context, 3-4. ^ Le Faye, "Letters", Jane Austen in Context, 33. ^ Le Faye, A Family Record, 270; Nokes, 1. ^ Le Faye, A Family Record, 279. ^ Fergus, "Biography", Jane Austen in Context, 3-4. ^ Honan, 29-30. ^ Honan, 11-14; Tucker, "Jane Austen's Family", The Jane Austen Companion, 143. ^ Tomalin, 6, 13-16, 147-51, 170-71; Greene, "Jane Austen and the Peerage", Jane Austen: A Collection of Critical Essays, 156-57; Fergus, "Biography", Jane Austen in Context, 5-6; Collins, 10-11. ^ Irene Collins estimates that when George Austen took up his duties as rector in 1764, Steventon comprised no more than about thirty families. Collins, 86. ^ Honan, 14, 17-18; Collins, 54. ^ Fergus, "Biography", 3; Tomalin, 142; Honan, 23, 119. ^ MacDonagh, 50-51; Honan, 24, 246; Collins, 17. ^ a b Le Faye, Family Record, 22. ^ Tucker, "Jane Austen's Family", 147; Le Faye, Family Record, 43-44. ^ Le Faye, Family Record, 20. ^ Le Faye, Family Record, 27. ^ Tomalin, 7-9; Honan, 21-22; Collins, 86; Le Faye, Family Record, 19. Le Faye and Collins add that the Austens followed this custom for all of their children. ^ Le Faye, Family Record, 47-49; Collins, 35, 133. ^ Tomalin, 9-10, 26, 33-38, 42-43; Le Faye, Family Record, 52; Collins, 133-134. ^ Le Faye, "Chronology", 2-3; Grundy, "Jane Austen and Literary Traditions", 190-91; Tomalin, 28-29, 33-43, 66-67; Honan, 31-34; Lascelles, 7-8. Irene Collins believes that Austen "used some of the same school books as the boys" her father tutored. Collins, 42. ^ Honan, 66-68; Collins, 43. ^ Honan, 211-12. ^ Le Faye, Family Record, 52. ^ Le Faye, "Chronology", 2-3; Tucker, "Amateur Theatricals at Steventon", The Jane Austen Companion, 1-2; Byrne, 1-39; Gay, ix, 1; Tomalin, 31-32, 40-42, 55-57, 62-63; Honan, 35, 47-52, 423-24, n. 20. ^ Honan, 53-54; Lascelles, 106-07; Litz, 14-17. ^ Le Faye, Family Record, 66; Litz, "Chronology of Composition", The Jane Austen Companion, 48; Honan, 61-62, 70; Lascelles, 4. ^ Honan, 62-76; Le Faye, A Family Record, 270. ^ Sutherland, 14; Doody, "The Short Fiction", The Cambridge Companion to Jane Austen, 85-86. ^ Litz, 21; Tomalin, 47; Honan, 73-74; Southam, "Juvenilia", The Jane Austen Companion, 248-49. ^ Honan, 75. ^ Austen, The History of England, Catharine and Other Writings, 134. ^ Jenkyns, 31. ^ Gary Kelly, "Education and accomplishments," Jane Austen in Context, 256-57; Tomalin, 101-03, 120-23, 144. ^ Le Faye, Family Record, 84. ^ Honan, 265. ^ For social conventions among the gentry generally, see Collins, 105. ^ Tomalin, 101-03, 120-23, 144; Honan, 119. ^ Quoted in Tomalin, 102; see also Honan, 84. ^ Southam, "Grandison", The Jane Austen Companion, 187-89. ^ a b Honan, 93. ^ Honan, 101-102; Tomalin, 82-83 ^ Tomalin, 83-84; see also Sutherland, 15. ^ Sutherland, 16-18; LeFaye, "Chronology", 4; Tomalin, 107, 120, 154, 208. ^ Tomalin, 118. ^ Qtd. in Le Faye, Family Record, 92. ^ Le Faye, "Chronology", 4; Fergus, "Biography", 7-8; Tomalin, 112-20, 159; Honan, 105-11. ^ Le Faye, Family Record, 100, 114. ^ Le Fay, Family Record, 104; Sutherland, 17, 21; quotations from Tomalin, 120-22. ^ Le Faye, "Chronology", 5, 7; Fergus, "Biography", 7; Sutherland, 16-18, 21; Tomalin, 120-21; Honan, 122-24. ^ Litz, 59-60. ^ Le Faye, "Chronology", 5, 6, 10; Fergus, "Biography", 8-9; Sutherland, 16, 18-19, 20-22; Tomalin, 182, 199, 254. ^ Collins, 8-9. ^ Sutherland, 21. ^ Le Faye, "Chronology", 6-8; Fergus, "Biography", 8; Sutherland, 15, 20-22; Tomalin, 168-75; Honan, 215. Doody agrees with Tomalin. Margaret Anne Doody, "Jane Austen, that disconcerting child" in Alexander and McMaster, The Child Writer, 105. ^ Le Faye, "Chronology" 6; Fergus, "Biography", p. 7-8; Tomalin, 178-81; Honan, 189-98. ^ Le Faye, "Memoirs and Biographies", Jane Austen in Context, 51. ^ Letter dated 18 November-20, 1814, Jane Austen's Letters, 278-82. ^ Sutherland, 15, 21. ^ Le Faye, "Chronology", 7; Tomalin, 182-84; Honan, 203-05. ^ MacDonagh, 111; Honan, 212; Tomalin, 186. ^ Honan, 213-14. ^ Tomalin, 194-206. ^ Tomalin, 207. ^ Chawton had a population of 417 at the census of 1811. Collins, 89. ^ Le Faye, "Chronology", 8; Tomalin, 194-206; Honan, 237-45; MacDonagh, 49. ^ Grey, "Chawton", in The Jane Austen Companion, 38 ^ Grey, "Chawton", 37-38; Tomalin, 208, 211-12; Honan, 265-66, 351-52. ^ Doody, "The Shorter Fiction", The Cambridge Companion to Jane Austen, 87. ^ Honan, 289-290. ^ Honan, 290, Tomalin, 218. ^ Sutherland, 16-17, 21; Le Faye, "Chronology" 8-9; Fergus, "The Professional Woman Writer", 19-23; Tomalin, 210-12, 216-20; Honan, 287. ^ Le Faye, "Chronology", 9; Fergus, "The Professional Woman Writer", 22-24; Sutherland, 18-19; Tomalin, 236, 240-41, 315, n. 5. ^ Austen letter to James Stannier Clarke, 15 November 1815; Clarke letter to Austen, 16 November 1815; Austen letter to John Murray, 23 November 1815, Le Faye, Jane Austen's Letters, 296-98. ^ Note on the relationship; Correspondence; Litz, 164-165; Honan, 367-69, describes the episode in detail. ^ Le Faye, "Chronology", 8-9; Sutherland, 16-21; Fergus, "The Professional Woman Writer", 23-27, 30, n.29, 31, n.33; Fergus, "Biography", 10; Tomalin, 256. ^ Le Faye, "Chronology", 6, 10; Fergus, "The Professional Woman Writer", 26-27; Tomalin, 252-54. ^ Honan, 378-79, 385-95 ^ http://press.psprings.co.uk/mp/december/98_mh1453.pdf ^ Tomalin, 261. ^ Le Faye, "Chronology", 10-11; Fergus, "The Professional Woman Writer", 26-27; Tomalin, 254-71; Honan, 385-405. ^ Tomalin, 272. ^ Tomalin, 321, n.1 and 3; Gilson, "Editions and Publishing History", in The Jane Austen Companion, 136-37. ^ Gilson, "Editions and Publishing History", p. 137; Gilson, "Later publishing history, with illustrations," Jane Austen in Context, p. 127; Southam, "Criticism, 1870-1940", 102. ^ Honan, Jane Austen, 289–90. ^ Fergus, 18–19; Honan, Jane Austen, 287–89, 316–17, 372–73; Southam, "Introduction", Vol. 1, 1. ^ Waldron, 83–91. ^ Southam, "Scott in the Quarterly Review", Vol. 1, 58; Waldron, "Critical Responses, Early", Jane Austen in Context, 86; Duffy, "Criticism, 1814-1870", The Jane Austen Companion, 94-96. ^ Waldron, "Critical Responses, Early", Jane Austen in Context, 89-90; Duffy, "Criticism, 1814-1870", The Jane Austen Companion, 97; Watt, "Introduction", 4-5. ^ Duffy, "Criticism, 1814-1870", The Jane Austen Companion, 98-99; MacDonagh, 146; Watt, "Introduction", 3-4. ^ Southam, "Introduction", Vol. 1, 2; Southam, "Introduction", Vol. 2, 1. ^ Johnson, "Austen cults and cultures", The Cambridge Companion to Jane Austen, 211; Gilson, "Later publishing history, with illustrations," p. 127. ^ David Gilson, "Later publishing history, with illustrations", Jane Austen in Context, 127. ^ Southam, "Introduction", Vol. 1, 152; Southam, "Introduction", Vol. 2, 20-21. ^ Southam, "Introduction", Vol. 2, 70. ^ Southam, “Introduction”, Vol. 2, 58-62. ^ Southam, "Introduction", Vol. 2, 47. ^ Southam, "Introduction", Vol. 2, 46; Johnson, "Austen cults and cultures", The Cambridge Companion to Jane Austen, 213. ^ Southam, "Henry James on Jane Austen", Vol. 2, 230. ^ Southam, "Introduction", Vol. 1, 1. ^ Brian Southam, quoted in Trott, "Critical Responses, 1830-1970", 92; Southam, "Introduction", Vol. 2, 79. ^ Southam, "Introduction", Vol. 2, 79. ^ Southam, "Introduction", Vol. 2, 99-100; see also Watt, "Introduction", 10-11; Gilson, "Later Publishing History, with Illustrations", 149-50; Johnson, “Austen cults and cultures”, 218. ^ Southam, "Introduction", Vol. 2, 107-109, 124. ^ Southam, "Criticism 1870-1940", 108; Watt, "Introduction", 10-11; Stovel, "Further Reading", 233; Southam, "Introduction", Vol. 2, 127; Todd, 20. ^ Johnson, "Austen cults and cultures", 219; Todd, 20. ^ Todd, 20. ^ Lynch, "Sequels", Jane Austen in Context, 160. ^ Lynch, "Sequels", Jane Austen in Context, 160-62. ^ Brownstein, 13. ^ Troost, "The Nineteenth-Century Novel on Film", 79. ^ Troost, "The Nineteenth-Century Novel on Film", 82–84. ^ Pucci and Thompson, 1. ^ The full title of this short play is Sir Charles Grandison or The happy Man, a Comedy in 6 acts. For more information see Southam, "Grandison", The Jane Austen Companion, 187-189. ^ This list of the juvenilia is taken from The Works of Jane Austen. Vol VI. 1954. Ed. R. W. Chapman and B. C. Southam. Oxford: Oxford University Press, 1988, as supplemented by additional research reflected in Margaret Anne Doody and Douglas Murray, eds. Catharine and Other Writings Oxford: Oxford University Press, 1993. ^ Kirkham, "Portraits", Jane Austen in Context, 69-72. ^ Sutherland, "Chronology of Composition and Publication", Jane Austen in Context, 13. ^ MacDonagh, 65, 136-37. ^ Fergus, "The Professional Woman Writer", 15-17; Raven, "Book Production", in Jane Austen in Context, 198; Honan, 285-86. ^ For more information and a discussion of the economics of book publishing during this period, see Fergus, "The Professional Woman Writer", 18, and Raven, "Book Production", 196-203. ^ passage online; Le Faye, Jane Austen's Letters, 207-08. ^ Honan, 364-65; Le Faye, Jane Austen's Letters, 291 ^ Tomalin, Appendix I, 283-84; see also Upfal, A. (2005). "Jane Austen's lifelong health problems and final illness: New evidence points to a fatal Hodgkin's disease and excludes the widely accepted Addison's" (Registration required). Medical Humanities 31: 3. doi:10.1136/jmh.2004.000193. http://mh.bmj.com/cgi/content/full/31/1/3. ^ Tomalin, 255. ^ Honan, 317. [edit] Bibliography Primary works

Austen, Jane. Catharine and Other Writings. Ed. Margaret Anne Doody and Douglas Murray. Oxford: Oxford University Press, 1993. ISBN 0-19-282823-1. Austen, Jane. The History of England. Ed. David Starkey. Icon Books, HarperCollins Publishers, 2006. ISBN 0-06-135195-4. Le Faye, Deirdre, ed. Jane Austen's Letters. Oxford: Oxford University Press, 1995. ISBN 0-19-283297-2. Secondary works


Austen, Henry Thomas. "Biographical Notice of the Author". Northanger Abbey and Persuasion. London: John Murray, 1817. Austen-Leigh, James Edward. A Memoir of Jane Austen. 1926. Ed. R. W. Chapman. Oxford: Oxford University Press, 1967. Austen-Leigh, William and Richard Arthur Austen-Leigh. Jane Austen: Her Life and Letters, A Family Record. London: Smith, Elder & Co., 1913. Fergus, Jan. Jane Austen: A Literary Life. London: Macmillan, 1991. ISBN 0-333-44701-8. Honan, Park. Jane Austen: A Life. New York: St. Martin's Press, 1987. ISBN 0-312-01451-1. Le Faye, Deirdre. Jane Austen: A Family Record. Second Edition. Cambridge: Cambridge University Press, 2003. ISBN 0-521-53417-8. Nokes, David. Jane Austen: A Life. Berkeley: University of California Press, 1998. ISBN 0520216067. Tomalin, Claire. Jane Austen: A Life. New York: Alfred A. Knopf, 1997. ISBN 0-679-44628-1. Essay collections

Alexander, Christine and Juliet McMaster, eds. The Child Writer from Austen to Woolf. Cambridge: Cambridge University Press, 2005. ISBN 0-521-81293-3. Copeland, Edward and Juliet McMaster, eds. The Cambridge Companion to Jane Austen. Cambridge: Cambridge University Press, 1997. ISBN 0-521-49867-8. Grey, J. David, ed. The Jane Austen Companion. New York: Macmillan, 1986. ISBN 0-52-545540-0. Lynch, Deidre, ed. Janeites: Austen's Disciples and Devotees. Princeton: Princeton University Press, 2000. ISBN 0-691-05005-8. Southam, B. C., ed. Jane Austen: The Critical Heritage, 1812-1870. Vol. 1. London: Routledge and Kegan Paul, 1968. ISBN 0-7100-2942-X. Southam, B. C., ed. Jane Austen: The Critical Heritage, 1870-1940. Vol. 2. London: Routledge and Kegan Paul, 1987. ISBN 0-7102-0189-3. Todd, Janet, ed. Jane Austen In Context. Cambridge: Cambridge University Press, 2005. ISBN 0-521-82644-6. Watt, Ian, ed. Jane Austen: A Collection of Critical Essays. Englewood Cliffs, NJ: Prentice Hall, 1963. ISBN 0-130-53769-0. Monographs and articles

Armstrong, Nancy. Desire and Domestic Fiction. London: Oxford University Press, 1987. ISBN 0-19-506160-8. Butler, Marilyn. Jane Austen and the War of Ideas. Oxford: Oxford University Press, 1975. ISBN 0-19-812968-8. Byrne, Paula. Jane Austen and the Theatre. London and New York: Continuum, 2002. ISBN 978-1847250476. Collins, Irene. Jane Austen and the Clergy. London: The Hambledon Press, 1994. ISBN 1-85285-114-7. Devlin, D. D. Jane Austen and Education. London: Macmillan, 1975. ISBN 0-333-14431-2. Duckworth, Alistair M. The Improvement of the Estate: A Study of Jane Austen's Novels. Baltimore: Johns Hopkins University Press, 1971. ISBN 0-8018-1269-0. Fergus, Jan. Jane Austen and the Didactic Novel. Totowa: Barnes & Noble, 1983. ISBN 0-389-20228-2. Ferguson, Moira. "Mansfield Park, Slavery, Colonialism, and Gender". Oxford Literary Review 13 (1991): 118-39. Galperin, William. The Historical Austen. Philadelphia: University of Pennsylvania Press, 2003. ISBN 0-812-23687-4. Gay, Penny. Jane Austen and the Theatre. Cambridge: Cambridge University Press, 2002. ISBN 0-521-65213-8. Gubar, Susan and Sandra Gilbert. The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination. 1979. New Haven: Yale University Press, 1984. ISBN 0-300-02596-3. Harding, D. W., "Regulated Hatred: An Aspect of the Work of Jane Austen". Jane Austen: A Collection of Critical Essays. Ed. Ian Watt. Englewood Cliffs, NJ: Prentice-Hall, 1963. Jenkyns, Richard. A Fine Brush on Ivory: An Appreciation of Jane Austen. Oxford: Oxford University Press, 2004. ISBN 0-19-927761-7. Johnson, Claudia L. Jane Austen: Women, Politics and the Novel. Chicago: University of Chicago Press, 1988. ISBN 0-226-40139-1. Kirkham, Margaret. Jane Austen, Feminism and Fiction. Brighton: Harvester, 1983. ISBN 0-710-80468-7. Koppel, Gene. The Religious Dimension in Jane Austen's Novels. Ann Arbor, MI: UMI Research Press, 1988. Lascelles, Mary. Jane Austen and Her Art. Original publication 1939. Oxford: Oxford University Press, 1966. Leavis, F. R. The Great Tradition: George Eliot, Henry James, Joseph Conrad. London: Chatto & Windus, 1960. Litz, A. Walton. Jane Austen: A Study of Her Development. New York: Oxford University Press, 1965. Lynch, Deidre. The Economy of Character. Chicago: University of Chicago Press, 1998. ISBN 0-226-49820-4. MacDonagh, Oliver. Jane Austen: Real and Imagined Worlds. New Haven: Yale University Press, 1991. ISBN 0-300-05084-4. Miller, D. A. Jane Austen, or The Secret of Style. Princeton: Princeton University Press, 2003. ISBN 0-691-12387-X. Mudrick, Marvin. Jane Austen: Irony as Defense and Discovery. Berkeley: University of California Press, 1952. Page, Norman. The Language of Jane Austen. Oxford: Blackwell, 1972. ISBN 0-631-08280-8. Poovey, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Chicago: University of Chicago Press, 1984. ISBN 0-226-67528-9. Raven, James. The Business of Books: Booksellers and the English Book Trade. New Haven: Yale University Press, 2007. ISBN 0-300-12261-6. Said, Edward W. Culture and Imperialism. New York: Vintage Books, 1993. ISBN 0-679-75054-1. Todd, Janet. The Cambridge Introduction to Jane Austen. Cambridge: Cambridge University Press, 2006. ISBN 978-0-521-67469-7. Waldron, Mary. Jane Austen and the Fiction of Her Time. Cambridge: Cambridge University Press, 1999. ISBN 0-521-00388-1. Wiltshire, John. Recreating Jane Austen. Cambridge: Cambridge University Press, 2001. ISBN 0-521-00282-6. Wiltshire, John. Jane Austen and the Body: The Picture of Health. Cambridge: Cambridge University Press, 1992. ISBN 0-521-41476-8. [edit] External links Find more about Jane Austen on Wikipedia's sister projects:

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Online works

Works by Jane Austen - etexts by Electronic Literature Foundation Works by Jane Austen at Project Gutenberg E-books of Austen's work in ePub, mobipocket, and pdf. Includes the complete Juvenilia. Works by Jane Austen - e-books in HTML Works by Jane Austen - printable PDF ebooks Works by Jane Austen - for cell phones A Memoir of Jane Austen by James Edward Austen-Leigh Museums

Jane Austen's House Museum in Chawton The Jane Austen Centre in Bath Fan sites and societies

The Republic of Pemberley: the largest Jane Austen site on the web. The Jane Austen Society of Australia The Jane Austen Society of North America The Jane Austen Society of the United Kingdom [hide]v • d • eJane Austen

General Timeline of Jane Austen · Styles and themes of Jane Austen · Reception history of Jane Austen · Jane Austen in popular culture · Georgian society in Jane Austen's novels · A Memoir of Jane Austen · Janeite · Jane Austen Centre · Jane Austen's House Museum

Related people Catherine Hubback · Francis Austen · Cassandra Austen · Thomas Langlois Lefroy · Charles Austen · Eliza Hancock

Major works Sense and Sensibility (1811) · Pride and Prejudice (1813) · Mansfield Park (1814) · Emma (1815) · Northanger Abbey (1817) · Persuasion (1817)

Minor works Lady Susan · Sanditon (unfinished) · The Watsons (unfinished)

Juvenilia Love and Freindship · The Beautifull Cassandra · The History of England

Characters Fitzwilliam Darcy · Elizabeth Bennet · Elinor Dashwood • Edward Ferrars • John Willoughby • Anne Elliot • Fanny Price • Edmund Bertram • Maria Bertram • Thomas Bertram • Henry Crawford • Mary Crawford • George Knightley

Persondata NAME Austen, Jane ALTERNATIVE NAMES SHORT DESCRIPTION English novelist DATE OF BIRTH 16 December 1775 PLACE OF BIRTH Steventon, Hampshire, England DATE OF DEATH 18 July 1817 PLACE OF DEATH Winchester, Hampshire, England

Retrieved from "http://en.wikipedia.org/wiki/Jane_Austen" Categories: 1775 births | 1817 deaths | People from Hampshire | 18th-century English people | 19th-century English people | Culture in Bath | Burials at Winchester Cathedral | Cause of death disputed | Deaths from tuberculosis | English Anglicans | English novelists | English romantic fiction writers | English women writers | History of Bath | History of Winchester | Infectious disease deaths in England | Jane Austen | People from Reading, Berkshire | Women novelists | Women of the Regency eraViewsArticle Discussion Edit this page


The only family member (apart from her handicapped brother George) to have no formal portrait. There have been only two authentic surviving portraits of Jane Austen, both by her sister Cassandra, one of which is a back view. The single image of her face has been called "hideously unlike" her by her niece Anna. Her nephew James-Edward described her as "very attractive"

Jane Austen was John Hibbard's 5th Cousin, and also was an English novelist whose works include Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, and Persuasion. Her biting social commentary and masterful use of both free indirect speech and irony eventually made Austen one of the most influential and honoured novelists in English literature.

Jane was born in 1775 at a rectory in Steventon, Hampshire, one of two daughters of the Reverend George Austen (1731–1805) and his wife Cassandra (née Leigh) (1739–1827). Her brothers James and Henry followed in their father's path and joined the Anglican clergy (the latter towards the end of his life after a successful career as a banker), while her brothers Francis and Charles both pursued naval careers. There was also a disabled brother, George, who did not live with the Austens.

She was close to her sister Cassandra throughout her life. The abundant correspondence between them provides historians with the greatest insight into Jane's thoughts. It is regrettable that Cassandra destroyed some of it after Jane's death; no one is certain why. Cassandra drew the only undisputed portrait of Jane, a somewhat rudimentary, coloured sketch which currently resides in the National Portrait Gallery, London.

In 1783, Austen was educated briefly by a relative in Oxford, then in Southampton; finally in 1785–1786, she attended the Reading Ladies boarding school in the Abbey gatehouse in Reading, Berkshire.

She began her first novel in 1789. Her family life was conducive to writing; the Austen family often enacted plays, which gave Jane an opportunity to present her stories. They also borrowed novels from the local library, which influenced her writing. She was encouraged to write, especially by her brother Henry, who wrote a little himself.

In 1796, Jane Austen had a flirtation with Tom Lefroy, later Lord High Justice of Ireland, who was a younger relative of a friend of hers. Jane Austen wrote two letters to Cassandra mentioning him. In a letter dated 9 January 1796, she wrote:

"After I had written the above, we received a visit from Mr. Tom Lefroy and his cousin George. The latter is really very well-behaved now; and as for the other, he has but one fault, which time will, I trust, entirely remove -- it is that his morning coat is a great deal too light. He is a very great admirer of Tom Jones, and therefore wears the same coloured clothes, I imagine, which he did when he was wounded". ” On 16 January 1796, there is another mention:

"Friday. -- At length the day is come on which I am to flirt my last with Tom Lefroy, and when you receive this it will be over. My tears flow as I write at the melancholy idea".[1] It does not seem to have been a serious relationship and the love affair did not last long. However, it has been suggested that Austen might have had him in mind when she created the character Mr. Darcy in Pride and Prejudice.

In 1801, following her father's retirement, the family moved to the fashionable spa city of Bath, which provides the setting for many of her novels.[2] However, Jane Austen, like her character Anne Elliot, seemed to have "persisted in a disinclination for Bath." Her dislike may have been influenced by the family's precarious financial situation and from being uprooted from her settled existence in the country.

In 1802, Austen received a marriage proposal from a wealthy, but "big and awkward" man named Harris Bigg-Wither, the younger brother of her friends Catherine and Alethea Bigg and six years her junior.[3] The marriage would have freed her from some of the constraints and dependency she experienced as a spinster. She initially accepted his offer, only to change her mind and refuse him the following day.

After the death of her father in 1805, Austen, her sister and her mother lived in Southampton with her brother Frank and his family for several years, before moving to Chawton in 1809. Here, her wealthy brother Edward had an estate with a cottage, where his mother and sisters lived. This house is now a museum and is a popular site for tourists and literary pilgrims alike. Austen wrote her later novels there. It wasn't until 1811, six years before her death, that her first novel Sense and Sensibility was published, at the expense of her brother Henry and his wife Eliza.

In 1816, she began to suffer from ill health. In May 1817, she moved to Winchester to be closer to her doctor. Jane's condition became increasingly worse, and on 18 July 1817, she died at the age of forty-one and was buried in Winchester Cathedral. It is now thought by some that she may have suffered from Addison's disease, a failure of the adrenal glands that was often caused by tuberculosis. The disease was at that time unnamed. Others, such as biographer Carol Shields, have hypothesized that she died from breast cancer.

Austen's best-known work is Pride and Prejudice, which is viewed as an exemplar of her socially astute comedies of manners. Austen also wrote a satire of the popular Gothic novels of Ann Radcliffe, Northanger Abbey, which was published posthumously in 1818. Adhering to a common contemporary practice for female authors, Austen published her novels anonymously; this kept her out of leading literary circles.

Austen's comedies of manners, especially Emma, are often cited for their perfection of form. Modern critics continue to unearth new perspectives on Austen's keen commentary regarding the predicament of unmarried genteel English women in the late 1790s and early 1800s, a consequence of inheritance law and custom, which usually directed the bulk of a family's fortune to eldest male heirs.

Although Austen's career coincided with the Romantic movement in literature, she was not an intensely passionate Romantic. She was more neo-classical. Passionate emotion usually carries danger in an Austen novel: the young woman who exercises twice a day is more likely to find real happiness than one who irrationally elopes with a capricious lover. Austen's artistic values had more in common with David Hume and John Locke than with her contemporaries William Wordsworth and Lord Byron. Among Austen's influences were Samuel Johnson, William Cowper, Samuel Richardson, Walter Scott, George Crabbe and Fanny Burney.

Although Austen did not promote passionate emotion as did other Romantic movement writers, she was also sceptical of its opposite -- excessive calculation and practicality often leads to disaster in Austen novels. Jane loved to write her novels in peace and she only shared them with her family when they were performing plays.

Austen's novels received only moderate renown when they were published, though Sir Walter Scott in particular praised her work:

"That young lady has a talent for describing the involvements of feelings and characters of ordinary life which is to me the most wonderful I ever met with." In Austen's final novel, Persuasion, several characters read a work by Scott and praise it, but Marianne Dashwood in Sense and Sensibility had already counted Scott as one of her favorites.

Austen also earned the admiration of Macaulay (who thought that in the world there were no compositions which approached nearer to perfection), Samuel Taylor Coleridge, Robert Southey, Sydney Smith, Edward FitzGerald, and the Prince Regent, who told his chaplain to give her a guided tour of his London residence Carlton House's library. He also gave "permission" (effectively a command) for Emma to be dedicated to him. Twentieth century scholars rank her among the greatest literary geniuses of the English language, sometimes even comparing her to Shakespeare. Lionel Trilling and Edward Said have both written treatises on Austen's works. Said referred extensively to Mansfield Park in his 1993 work, Culture and Imperialism.

Trilling wrote in an essay on Mansfield Park:

"It was Jane Austen who first represented the specifically modern personality and the culture in which it had its being. Never before had the moral life been shown as she shows it to be, never before had it been conceived to be so complex and difficult and exhausting. Hegel speaks of the "secularization of spirituality" as a prime characteristic of the modern epoch, and Jane Austen is the first to tell us what this involves. She is the first novelist to represent society, the general culture, as playing a part in the moral life, generating the concepts of "sincerity" and "vulgarity" which no earlier time would have understood the meaning of, and which for us are so subtle that they defy definition, and so powerful that none can escape their sovereignty. She is the first to be aware of the Terror which rules our moral situation, the ubiquitous anonymous judgment to which we respond, the necessity we feel to demonstrate the purity of our secular spirituality, whose dark and dubious places are more numerous and obscure than those of religious spirituality, to put our lives and styles to the question ..." Negative views of Austen have been notable, with severe detractors frequently accusing her writing of being unliterary and middle-brow. Charlotte Brontë criticized the narrow scope of Austen's fiction:

"Anything like warmth or enthusiasm, anything energetic, poignant, heartfelt, is utterly out of place in commending these works: all such demonstrations the authoress would have met with a well-bred sneer, would have calmly scorned as 'outré' or extravagant. She does her business of delineating the surface of the lives of genteel English people curiously well. There is a Chinese fidelity, a miniature delicacy, in the painting. She ruffles her reader by nothing vehement, disturbs him with nothing profound. The passions are perfectly unknown to her: she rejects even a speaking acquaintance with that stormy sisterhood… What sees keenly, speaks aptly, moves flexibly, it suits her to study: but what throbs fast and full, though hidden, what the blood rushes through, what is the unseen seat of life and the sentient target of death—this Miss Austen ignores… Jane Austen was a complete and most sensible lady, but a very incomplete and rather insensible (not senseless) woman, if this is heresy—I cannot help it." Mark Twain's reaction was revulsion:

"Jane Austen? Why, I go so far as to say that any library is a good library that does not contain a volume by Jane Austen. Even if it contains no other book." Rudyard Kipling felt differently, going so far as to write the short story "The Janeites" about a group of soldiers who were also Austen fans, as well as two poems praising "England's Jane" and providing her with posthumous true love.

Austen's literary strength lies in the delineation of character, especially of women, by delicate touches arising out of the most natural and everyday incidents in the life of the middle and upper classes, from which her subjects are generally taken. Her characters, though of quite ordinary types, are drawn with such firmness and precision and with such significant detail as to retain their individuality intact through their entire development, and they are uncoloured by her own personality. Her view of life seems largely genial, with a strong dash of gentle but keen irony.

Some contemporary readers may find the world she describes, in which people's chief concern is securing advantageous marriages, unliberated and disquieting. During her time, options were limited, and both women and men often married for financial considerations. Female writers worked within the similarly narrow genre of romance. Part of Austen's reputation rests on how well she integrates observations on the human condition within a convincing love story. Much of the tension in her novels arises from balancing financial necessity against other concerns: love, friendship, honor and self-respect. It is also important to point out that, at the time, romance novels were seen as a clever modern variation on the knightly romances of medieval times; these were damsels engaged in adventure, seeking their fortunes and carrying out quests.

There are two museums dedicated to Jane Austen. The Jane Austen Centre in Bath is a public museum located in a Georgian House in Gay Street, just a few doors down the street from number 25 where Austen stayed in 1805. The Jane Austen's House Museum is located in Chawton cottage, in Hampshire, where Austen lived from 1809 to 1817.

Jane Austen was John Hibbard's 5th Cousin

About Jane Austen (עברית)

מתוך Wikipedia, האינציקלופדיה החופשית

גֵ'יין אוֹסְטֶן (באנגלית: Jane Austen;‏ 16 בדצמבר 1775 - 18 ביולי 1817) הייתה סופרת אנגלייה, שהרומנים שכתבה התמקדו בדרכן אל הנישואים של עלמות צעירות ממעמד האצולה הזעירה באנגליה. למרות הטווח המצומצם של הנושאים שבהם עסקה, הגיוון הדל ברקע המעמדי של גיבוריה ומיעוט האירועים הדרמטיים, כבשה אוסטן מקום של כבוד בקאנון הספרותי המערבי, בין השאר בזכות כשרונה בטוויית עלילה, אבחנותיה החדות והמעמיקות, וכתיבתה השנונה, המלוטשת ומלאת ההומור.

רק מעט ידוע בוודאות על חייה של אוסטן. רק מקצת מהמכתבים האישיים והמשפחתיים שכתבה שרדו. רבים מהמכתבים מוענו לאחותה, קסנדרה, ששרפה רבים מהם והשמיטה מאחרים פרטים שעסקו באירועים אישיים או במצבה הבריאותי של אוסטן. מכתבים אחרים של אוסטן הושמדו על ידי יורשי אחיה, אדמירל פרנסיס אוסטן. עיקר המידע המצוי כיום ברשותנו מתבסס על זיכרונות שכתב אחיינה, יותר מ-50 שנה אחרי מותה, ובו הציג אותה כ"דודה ג'יין הטובה והשקטה" - אישה אפרורית, שלווה ונעימת מזג, שכישרונה הספרותי לא נולד מתכנון וממחשבה מרובים כי אם מאינטואיציה ותחושות-לב.

הוריה של ג'יין אוסטן, ויליאם ג'ורג' אוסטן (1731–1805) ואשתו קסנדרה (1739–1827), היו שייכים לאצולה הזעירה (gentry) האנגלית. ג'ורג' אוסטן בא ממשפחה של יצרני אריגי-צמר שטיפסו במעלה הסולם החברתי; קסנדרה הייתה בת למשפחת לי, שנמנתה עם האצולה הזעירה. השניים נישאו בשנת 1764 בעיר באת' ובשנים 1765–1801 שימש האב ג'ורג' כומר הקהילה בכפר סטיבנטון שבמחוז המפשייר. הכנסה נוספת באה למשפחה מעיבוד אדמה ומהוראה של תלמידים שחיו בביתו. ג'ורג' וקסנדרה ניהלו פנימיית בנים בביתם וג'יין ספגה את האווירה הלמדנית ואת הערכת המשפחה לקריאה ולכתיבה כבר מילדותה.

אוסטן הייתה בתם השנייה של הזוג, והשביעית מבין שמונת ילדיהם. כל הבנים, ג'יימס, ג'ורג', אדוארד, הנרי תומאס, פרנסיס ויליאם (פרנק), וצ'ארלס ג'ון, האריכו ימים אחרי אוסטן. ג'יין ואחותה, אליזבת קסנדרה (1773–1845), לא נישאו מעולם. קסנדרה הייתה מאורסת לבחור צעיר שנפטר ממחלה בעת שנסע לעבוד ככומר בקהילות מרוחקות על מנת לחסוך כסף לקראת חתונתם. לאחר שהידיעות על מותו התקבלו באנגליה, היא נשבעה כי תישאר רווקה עד סוף ימיה. ג'יין וקסנדרה היו חברות טובות וקרובות, וקסנדרה הייתה אשת סודה של ג'יין כל ימי חייה. מבין אחיה הייתה ג'יין קרובה במיוחד להנרי תומאס (1771–1850), שהיה לבנקאי ואחר־כך לכומר קהילה. הנרי היה גם זה שטיפל בהוצאתם לאור של ספריה של אוסטן, ובזכות חוג חבריו ומכריו הלונדוניים התוודעה אוסטן לחוג חברתי שונה מזה שהכירה בקהילה הכפרית שבבית אביה.

ג'ורג', אחיה של אוסטן, היה לקוי בשכלו ונשלח בילדותו לחיות אצל משפחה בכפר. צ'ארלס ופרנק התגייסו לצי בו הגיעו, ברבות הימים, לדרגת אדמירל. אדוארד אומץ על ידי תומאס נייט, קרוב משפחה חשוך בנים, ומאוחר יותר הפך ליורשו.

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Jane Austen's Timeline

December 16, 1775
Steventon, Hampshire, England, United Kingdom
- 1783
Age 7
Oxfordshire, England
- 1786
Age 9
Reading, Berkshire, England
- 1925
Age 35
July 18, 1817
Age 41
Winchester, Hampshire, England, United Kingdom
July 24, 1817
Age 41
Winchester, Hampshire, England, United Kingdom