Austen Literary History & Criticism · Jane Austen

The Saga of the Steventon Parsonage

[Note:  please see an update to this post at Steventon Parsonage Redux ]

One of the things I love most about old books is what you sometimes find in them, be it bookplates, inscriptions, the odd bookmark or pictures or postcards or notes or newspaper articles, some history of the book or the owners, or something relating to the subject of the book in your hands – alas! I have never found money! [but I did find a check once and I called the person so they could have it re-issued – a corporate check from only a few years before – the  customer was thrilled! ] – so if it looks like something the previous owner might want I send it to them] – but as that is not usually the case, I find the possibilities endless – indeed I have several shoe boxes filled with the stuff, someday to be gone through in my dotage.  But I recently bought a book by R.W. Chapman [to be posted about another time], our esteemed editor and scholar of Jane Austen and in it was the following news article [dated 1931]:

The Estate market:  a link with Jane Austen

   Steventon Rectory, in Hampshire, is for sale with 20 acres of garden and pasture.  The formal notice of the auction, to be held at Basingstoke on September 9, in The Times yesterday, refers to building frontages on adjoining land, and indicates that there will be two lots.  So any admirer of Jane Austen anxious to acquire a house where the great novelist was “without impertinence” called “Jane” needs to bid only for the rectory and grounds.  A short history of Steventon speaks of Edward Knight as patron of the living in 1830.  There, for those who know Jane Austen’s family connexions, is a name that is eloquent of her life at Godmersham, near Canterbury, and Chawton House, near Alton.  Jane Austen was born in the parsonage at Steventon in 1775, her father, the Rev. George Austen, being the rector.  She lived there for 16 years.  The contemplated sale of the Steventon Rectory is by Messrs. Daniel Smith, Oakley and Garrand {Charles-street, St. James’s-square, and Rochester) and Messrs. Clutton [Great College-street, Westminster).  The freehold will be sold in low reserve, and it is worthwhile to add that private offers before the auction will be considered by Sir John Oakley’s firm.

 No date on the news-clipping, but there are a few notices on the reverse side with dates of 1931, so I am assuming this auction took place on September 9, 1931. 

Other real estate noted in this clipping [and pictures of what the houses look like now]:

Caverswall Castle, Staffs. A fortified manor house that has escaped the perils of siege and the sometimes equally defacing hand of the restorer, is for slae by Messrs Hampton and Sons (St. James’s-square).  An Edwardian tenure of the estate by Sir William de Caverswall followed that of his ancestors in the reign of Richard I….  [it is now a luxury wedding and events venue]

 

Shendish House, with 90 or 525 acres, and the rest of the 1,300 acres of Shendish estate, Kings Langley, will come under the hammer of Messrs. John D. Wood and Co (Berkeley-square) on September 15 in Watford.  There are farms of from 120 to 320 acres, two residences, and 18 cottages.  The land has frontages for development…. [now called Shendish Manor, a hotel and golf course]

 

And 

Teaninich, Cromarty Firth, is for sale by Messrs. Knight, Frank and Rutley (Hanover-square).  It includes 2,000 acres, Teaninich House, a grouse moor, and salmon and sea trout fishing in the Alness and loch trouting. [picture of an old postcard of  Teaninich House  – is this now called Teaninich Castle?,  a small hotel]

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But what of the Steventon Rectory sale and the reference to Austen?  This auction announcement cannot be correct, as we know that the parsonage where Jane was born was demolished by her brother Edward Knight in 1826 [or 1824 – see below] – and I have not seen anything about the house that he built to replace it to serve as the rectory when his son took over the benefice from his uncle, Jane’s brother Henry Austen in 1822. 

All trips to Steventon, and books on the subject, guide you to the lonely pump sitting in a distant field that you can only document with a telephoto-lens camera – this the only remains of the rectory where Jane lived from her birth in 1775 until the move to Bath in 1801.

Old Steventon Parsonage site

[Image from Constance Hill biography]

 

But I have not seen anything about this second rectory that was built after James and Henry let the original rectory where Jane was born go to seed – that is until recently when it appeared on the market again in October 2009 [ it was on the market for £4.5 million, I can find no listing for it now, so assuming it has sold]  – see this article at Country Life as well as this blog post at Austenonly.] 

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So this little newsprint set me to research what I could find about this house, misnamed in the 1931 announcement as the house Austen grew up in [it also states she lived there for 16 years…],  and of course what one finds is so many varying accounts of the original rectory and nothing of this newer house at all.  I first discovered the discrepancies in dates as to when Edward demolished the house, then further variances in what the house looked like in a number of sources I have.  Then a search on the JASNA.org site led me to the Linda Robinson Walker article in Persuasions On-Line [Winter 2005] – where she has meticulously reviewed all these different depictions of the rectory to understand why Jane Austen was sent from home for so many years of her childhood. 

 The varying history [some sources say the land was given to Rev. Austen by the Knight family, some say the Austen family, some say he rented the land he farmed (called Cheesedown Farm), and some say he sold that land when he moved to Bath], discrepancies in dates [the dates of the sketches, the dates the house was demolished, how long Austen lived there], various pictures [some resources show one front view, some the other, and David Cecil in his A Portrait of Jane Austen [Constable, 1978]  is wrong in identifying the rectory as Chawton Cottage!] – all this conjectural history is dizzying, and one sees the danger of interpreting such flimsy data for a biography!  [though certainly some of these discrepancies can be due to newer data coming to light at various periods…] 

What the Rectory actually looked like is by no means clear – all knowledge is based on the original drawing by Anna LeFroy [James Austen’s daughter – she lived in the house as a child when Jane was there and then later when her father took over as curate in 1801] – and information gleaned from letters and the early memoirs / biographies of the family who actually knew the rectory [i.e. Anna LeFroy, Fanny Knight, Caroline Austen, and James Edward Austen-Leigh, as well as Jane Austen’s own comments in her letters about the house].  Anna made several sketches of the house, front and back view, and a street of cottages in Steventon.  [but see:  Deirdre Le Faye in her Jane Austen: a Family Record [2nd edition, Cambridge 2004] states that for the 1870 Memoir “Anna provided a ‘little drawing of Julia’s [her second daughter] made from my description of the Parsonage: more pretty than true, yet, some thing perhaps might be made of it…’ This joint composition formed the basis for the engraving of Steventon rectory used in the Memoir, and Anna added a note to the drawing in her possession: ‘The Door should have more Glass and less wood work – The Windows were Casements.”  [Le Faye, p. 280, quoting a LeFroy letter and the LeFroy MS]

Steventon Parsonage LeFroy sketch
Steventon Parsonage - LeFroy sketch rear view
Steventon Parsonage - Engraving in Memoir

 As you can see the two drawings of the house from the front do not compute – and Walker concludes that the engraving made from one of the drawings that was put into the 1870 Memoir was just another example of “beefing- up” Austen’s image, just as was done with her portrait – and that the smaller house was actually the rectory and Jane and Cassandra were sent from home to a boarding school to allow room for Rev. Austen’s boarding [and paying] male students.  Walker believes the larger house to be a sketch of Ibthorpe [still standing, privately owned – I was fortunate enough to have tea there during the JASNA AGM in Winchester in 2003!] and a house much visited by all the Austen family.  Walker does a most admirable job of computing all this data, based on family reminiscences, comments in letters as to location of rooms, etc. – but it is likely to be a mystery for all time, or at least a full-time research project to expand on what Walker has done.  But in the end I am inclined to concur with Tom Carpenter’s thoughts that the smaller house view is actually a side view of the rectory [Walker cites Carpenter’s opinion in her note no. 2 on page 20-21].  An aside on this:  I have the 1926 Memoir as edited by Chapman:  the frontispiece of Austen is the Victorianized / “beautified” Austen, and the parsonage is the engraving that Walker refers to.  But I also have the Folio Society edition of 1989, based on Chapman’s edition – the frontispiece is the facing-away sketch of Austen in the blue dress and the rectory is the original drawing by LeFroy of the smaller house.  Why this change in the illustrations?? Are you all sufficiently confused at this point?! It is interesting to note that David Nokes in his 1997 biography of Austen has no illustration at all of the parsonage – perhaps he saw this jumble in the making and opted out?!

As to when the original rectory was demolished and the new one built, an article in Persuasions by Patricia Jo Kulischeck [Vol. 7, 1985, pp. 39-40 ]– [the full text for this issue is not available, so I will quote from it directly] gives us the following information from land records of the time, Memorandum for a supplementary affidavit respecting Steventon Glebe Apl 1824, docketed in Edward Knight’s handwriting [text is in another hand]:

There is no rectory house in the Parish of Steventon excepting the new one now nearly finished built on a part of the land proposed to be added to the original glebe.  The former house was situated low and subject to be flooded, distant from the greater part of the village and in a dilapidated state.  The present house is placed above the valley in a more healthy spot and nearer the village.  The inhabitants are about 150 persons.  The original glebe consisting of only 3 A. OR. 23P [presumably 3 acres, or 23 parcels of land] in two disunited pieces was quite inefficient for the necessary accommodation of a resident clergyman’s family and as there are besides cottages only farm houses in the Parish and very few resident incumbents in the adjoining Parishes, it is most particularly desirable that the Rector of Steventon should reside there rather than on any other preferment he may eventually have and nothing is so likely to secure that residence as the proposed addition to the glebe which will add so materially to the comforts and in some degree to the respectability of the Rector.  There can be no doubt what ever but very sensible advantages will be felt as well in several of the adjoining Parishes as in that of Steventon by securing the residence of the Rector in that Parish.

 After the Austens moved to Bath in 1801, Rev. Austen retained the Steventon living and its income in his retirement and his son, James Austen, held the curacy, until his father’s death in 1805, when he became the Rector, and was so until his death in December 1819.  As the living was part of the Knight estate that Edward Austen owned, Henry Austen took over the living until Edward’s fourth son William Knight was old enough to take it on in 1822.  [Henry moved on to be curate of Farnham in Surrey.]    William lived here in the new rectory with his wife, Caroline Portal, who had eight children in twelve years [and died in childbirth with the last one, much like her sister-in-law, Elizabeth Knight, Edward’s wife, who died after giving birth to her 12th child]– this from Claire Tomalin’s biography of Austen,  and I find nothing more mentioned about this new rectory… 

 Kulisheck also quotes from an entry in the Victoria County History of Hampshire, printed in 1911:

 St. Nicholas’ Church is on the eastern boundary of the parish.  The rectory standing in very pretty and well-wooded grounds of 53 acres is some distance north of the church…situated about 500 yards from where the old one used to stand.  At present no vestige of it remains, but up to within the last twenty years garden flowers used to bloom every season in the meadow where it formerly stood.” [Kulisheck, p. 40, quoting the History, vol. IV, p. 171.]

 The October 2009 advertisement for this property, now called Steventon House, [see picture above] says it was bought by the Duke of Wellington in 1855, sold to a Harris family in 1877 – the house remained a rectory for the village until 1930 [1931], when it sold and became a private home [and that would be the sale from the auction in the newspaper that started this whole circuitous post…] [this current information from the Austenonly blog and a number of news articles about the sale]

 So this is a very convoluted explanation of the original Steventon Parsonage where Jane Austen spent the first 25 years of her life !- the mystery remains, I feel more confused than ever! – more reading on the agenda… and certainly a required trip to the Hampshire Records Office – how awful that work gets in the way of such adventures!

Sources and further reading: 

-Austen-Leigh, James Edward.  A Memoir of Jane Austen by her Nephew.  With introduction, Notes and Index by R.W. Chapman.  Oxford, 1926. 

 -Austen-Leigh, J.E.  A Memoir of Jane Austen by her Nephew.  Introduction by Fay Weldon; based on the Second Edition of 1871 edited by R.W. Chapman for the Clarendon Press in 1926.  The Folio Society, 1989.

 -Cecil, David.  A Portrait of Jane Austen.  Constable, 1978. 

-Hill, Constance.  Jane Austen:  Her Houses and Haunts.  John Lane, 1901, rep. 1923 [available online at A Celebration of Women Writers here.] 

-Kulisheck, Patricia Jo. “Steventon Parsonage”  Persuasions, Vol. 7, 1985, pp. 39-40.

 -Le Faye, Deirdre.  Jane Austen:  a Family Record.  2nd ed.  Cambridge, 2004.

 -Todd, Janet, ed.  Jane Austen in Context.  Cambridge, 2007.

 -Tomalin, Claire.  Jane Austen:  a Life.  Viking, 1997. 

Walker, Linda Robinson Walker, “Why Was Jane Austen Sent Away to School at Seven? An Empirical Look at a Vexing Question.”  Persuasions On-Line, V.26, No. 1 [Winter 2005]

-Wilkes, Brian.  Jane Austen.  Hamlyn, 1978.

The Basingstoke and Deane Conservation Area Appraisal for Steventon, shows numerous homes in the area, including Steventon House.

Austenonly Blog on the Steventon Rectory

Jane Austen’s World Blog on the Steventon Rectory

Steventon, Jane Austen’s Home at Hantsweb

 [Posted by Deb]

Austen Literary History & Criticism · Books · Jane Austen · News

Jane Austen’s Fiction Manuscripts Digitized

The following fabulous information just received from Janeite Hope!

 Last year there was quite a bit of discussion around the kerfuffle between author Claire Harman (Jane’s Fame) and Professor Kathryn Sutherland (Jane Austen’s Textual Lives) [see post:  Discord in Austen Land  from March 15, 2009]. The dust appears to have settled and now we can be indebted to Professor Sutherland for yet another wonderful contribution to all Janeites and the world of Jane Austen scholarship.

 

Under the direction of Professor Sutherland, and a joint project of the University of Oxford and Kings College London, the Centre for Computing in the Humanities of King’s College London has published the website: Jane Austen’s Fiction Manuscripts. The site includes transcriptions as well as high quality facsimiles. Of particular interest to scholars, though not yet apparent on the website, is the fact that the manuscripts have been encoded with “orthographic variants and punctuation symbols in minute detail for subsequent computational interrogation” as well as complex structural metadata. This means that interesting reconstruction, deconstruction and analysis will be possible.

Meanwhile we have the current Austen site to study and enjoy.

Jane Austen’s Fiction Manuscripts

According to the site:

“Jane Austen’s fiction manuscripts are the first significant body of holograph evidence surviving for any British novelist. They represent every stage of her writing career and a variety of physical states: working drafts, fair copies, and handwritten publications for private circulation. The manuscripts were held in a single collection until 1845, when at her sister Cassandra’s death they were dispersed among family members, with a second major dispersal, to public institutions and private collections, in the 1920s Digitization enables their virtual reunification and will provides scholars with the first opportunity to make simultaneous ocular comparison of their different physical and conceptual states; it will facilitate intimate and systematic study of Austen’s working practices across her career, a remarkably neglected area of scholarship within the huge, world-wide Austen critical industry.

Many of the Austen manuscripts are frail; open and sustained access has long been impossible for conservation and location reasons. Digitization at this stage in their lives not only offers the opportunity for the virtual reunification of a key manuscript resource, it will also be accompanied by a record in as complete a form as possible of the conservation history and current material state of these manuscripts to assist their future conservation.

The digital edition will include in the first instance all Jane Austen’s known fiction manuscripts and any ancillary materials held with them.”

Manuscripts now online are:

•          Volume the First, Bodleian Library, Oxford

•          Volume the Second, British Library, London

•          Volume the Third, British Library, London

•          Lady Susan, Morgan Library & Museum, New York

•          Susan, Morgan Library & Museum, New York

•          The Watsons, Morgan Library & Museum, New York

•          The Watsons, Queen Mary, University of London, London

•          Persuasion, British Library, London

•          Sanditon, King’s College Cambridge, Cambridge

•          Opinions of Mansfield Park Opinions of Emma, British Library, London

•          Plan of a Novel, according to hints from | various quarters, Morgan Library & Museum, New York

•          Profits of my Novels, Morgan Library & Museum, New York

 

[Posted by Hope G.]

Austen Literary History & Criticism · Jane Austen

A Jane Austen Triple-Play in Montreal!

No, I am not talking about Baseball or Hockey [though I am very pleased to see the Montreal Canadiens in the Stanley Cup Semi-Finals!] –  these endless sport finals have nothing to do with Jane Austen after all [but can we assume that Catherine Morland likely played some form of hockey on a pond in her village…?]

This “Triple-Play” was a lovely “An Afternoon with Jane Austen” in a Montreal micro-brewery where members of JASNA-Montreal / Quebec celebrated Jane Austen with cheese, chocolate and BEER! – all the while listening to three lectures about Jane: 

JASNA President Marsha Huff’s lovely “Viewing Austen through Vermeer’s Camera Obscura” and assisted by Helen Mayer and Peter Sabor as readers [always nice to hear Captain Wentworth’s heart-stopping letter read aloud by a gentleman with the proper accent!]; McGill Professor Peter Sabor gave his Philadelphia AGM talk on “Brotherly and Sisterly Dedications in Jane Austen’s Juvenilia”; and  Professor Elaine Bander of Dawson College spoke on “Revisiting Northanger Abbey at Chawton”.

I confess to actually having heard EACH of these talks – but much like re-reading Austen herself, a few hours of re-listening to others talk ABOUT her is a double treat not to be missed whenever possible [and interesting to see the variations in my notes from each talk!] – and connecting with other Austen fans, coupled with a few shots of beer makes for a perfect afternoon!

Huff’s Austen / Vermeer talk is a wonderful exploration into several of Vermeer’s paintings, building on what Sir Walter Scott wrote in his review of Emma where he likened Austen’s talents to the Flemish School of Painting.  Huff offer’s a visual comparison with Vermeer’s “The Concert” to the party at the Cole’s in Emma; “The Music Lesson” with Elizabeth performing at Rosings for Col. Fitzwilliam and Darcy; “Lady Reading a Letter” to the various scenes in Austen of heroines reading letters: Elinor, Fanny, Emma, Ann Elliot, and Elizabeth – these are just a few examples, and one must see and hear this talk to really see the connections.  Marsha has been touring all of North America in her term as JASNA President, and if you get a chance to see this, get thee hence to it immediately [and do so even if you have already heard it – it gets better each time!]  [Note that she will be doing this talk for our JASNA-Vermont group on September 26, 2010]

[We all clamor for publication of this talk, but Ms. Huff believes there would be copyright issues with the paintings.  You can visit the very complete and indeed “essential” website Essential Vermeer to see all his works [and source of above image of  “Girl with a Pearl Earring”]

Peter Sabor teaches at the Department of English at McGill University, where he is Canada Research Chair in Eighteenth-Century Studies and Director of the Burney Centre.  He has recently edited the Cambridge University edition of Austen’s Juvenilia, and the Juvenilia Press editions of Evelyn (1999) and Frederic and Elfrida (2002).  He is currently working on a new biography of Austen.

As many of us know, Austen dedicated only one of her novels to anyone – Emma to the Prince Regent, and likely much against her will!  But her juvenilia have dedications all over the place! – and eleven of these are to her brothers and Cassandra.  Are they ironic or reflective of the fictional characters?  Professor Sabor offers an amusing and scholarly take on the mind of the young Austen and her relationships with each of her siblings. [Note that Prof. Sabor will be giving this talk to our JASNA-Vermont group at our annual Birthday Tea on December 5, 2010 – though he might be changing this as we get closer as this talk is in the just-arrived-in-your-mailbox Persuasions 31 [pp. 33-45]– so you can read all about it, though lacking Sabor’s not-to-be-missed lively delivery…]

Juvenilia Press edition

Elaine Bander is one of my favorite AGM speakers – whatever the topic of the Break-out Session, I go if she is the headliner.  [Professor Bander is Regional Coordinator of JASNA / Montreal-Quebec, and President of JASNA-Canada; she is currently on the editorial board for Persuasions] – she gave this talk this past summer at Chawton, and also in Boston in the fall – her blurb for this talk:

In “Catharine,” the last of the Juvenilia, Austen shifts from the mocking fictional conventions through burlesque to dramatizing misreadings through the character of Camilla Stanley, who is contrasted to the sensible heroine Catharine Percival.  In Northanger Abbey, the only pre-Chawton novel still essentially in its pre-Chawton form, the narrator, not the heroine, has quixotic expectations, while Catherine Morland, resolutely empirical, is [briefly] led astray not by literature but by love.

Indeed Dr. Bander gives Catherine all due credit for being a worthy heroine, eschewing those critics who find her too innocent or silly:  Catherine observes, reflects, then chooses her course throughout the book, and it is only when Henry comes into the picture that her sound judgments are disturbed – you can read this article also in the new Persuasions [pp.209-219]

After these three thought-provoking talks [and always nice to end with images of Henry Tilney!] – the McAuslan Brewing Company  in Montreal offered a tasting feast of five McAuslan beers, two beer cheeses, and dark chocolate – much Austen chat ensued as we opined on the various beers to be tasted, and this fabulous afternoon ended with a very happy crowd wandering out into the windy, rain-soaked streets!

Available through JASNA-Montreal/Quebec Region is Dr. Bander’s pamphlet written for this special event:  Jane Austen and … Beer?  [Montreal:  Hartfield Editions, 2010].   [There are also two other pamphlets by Dr. Bander:  In Defence of Fanny Price [2006] [a must-read for everyone!] and On Drinking Tea in Jane Austen’s Novels [2002]; contact me if you are interested in any of these and I will forward your request to the Montreal Region]

[Posted by Deb]

Jane Austen · JASNA-Vermont events · News · Schedule of Events

JASNA-Vermont Gathering June 6th ~ Jane Austen & Abigail Adams

Abigail Adams

 

You are Cordially Invited to JASNA-Vermont’s June Gathering 

A Box Hill Picnic* Celebrating Jane Austen’s ‘ Emma’ with 

Kelly M. McDonald on 

~ Austen / Adams: Journeys with Jane & Abigail ~ 

Ms. McDonald is an Independent Scholar &
a founding member of JASNA-Vermont 

Sunday, June 6,  2 – 4 pm
Location: “Box Hill in Burlington” [Deb Barnum’s Garden]*
Rain location: Champlain College, Hauke Conference Center
375 Maple St, Burlington VT  

Free & Open to the Public! 

*RSVPs are required as space is limited: 
 To reserve & get directions:  
JASNAVermont [at] gmail [dot] com
 

*Please bring a chair or blanket, an umbrella for the sun [or a bonnet!], and a picnic lunch if you wish [desserts and ice teas will be provided]



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Upcoming Events: [please contact us to be on our mailing list]

September 26:  JASNA President Marsha Huff on “Viewing Austen through Vermeer’s Camera Obscura” [Champlain College]
December 5: Annual Birthday Tea with Professor Peter Sabor on the Juvenilia and Prof. Elaine Bander on Mr. Darcy [Champlain College]
March 27, 2011: “Jane Austen’s London in Fact and Fiction” w/ Suzanne Boden & Deb Barnum [Champlain College]
June 5, 2011:  A Concert with William Tortolano at Vermont College of Fine Arts

*Image from americaslibrary.gov [Library of Congress]

[Posted by Deb]

Jane Austen · Regency England · Social Life & Customs

English Country House Auction Results

Dessert and cards, anyone??

The Sotheby’s Auction, A Celebration of the English Country House [Sale No 8625], I mentioned in my previous post took place today [April 15, 2010] and you can view the results here.

          

Sale Total:  3,035,376 USD*   [so far: session 2 is still ongoing] [see below for update]

a few samplings:

 

Lot 2:  A DERBY PORCELAIN BOTANICAL PART DESSERT SERVICE,  CIRCA 1800
5,000—7,000 USD
Lot Sold.  Hammer Price with Buyer’s Premium:  10,000 USD

 

 

 

 

 

 

 Lot 21:  A FINE GEORGE III INLAID TULIPWOOD AND MAHOGANY CARD TABLE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775
8,000—12,000 USD
Lot Sold.  Hammer Price with Buyer’s Premium:  43,750 USD

See the Sotheby’s website for the complete catalogue and ongoing results…

 

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PS:  here are the final results, with one more item: 
 
Sale Total: 3,172,254 USD

LOT 256:  A GEORGE III SILVER LARGE INKSTAND FROM THE WAR OFFICE, ROBERT & SAMUEL HENNELL, LONDON, 1805 

8,000—10,000 USD
Lot Sold.  Hammer Price with Buyer’s Premium:  17,500 USD  

 [Posted by Deb]

 

Jane Austen · News

Austen, Austen Everywhere, Part II

A selection of some wonderful links to all things of Austen interest:

1.  JASNA.org announces the latest Persuasions-Online, vol. 30, no. 2, on “New Directions in Austen Studies” – also, click here for the table of contents to the next Persuasions 31, now at the printer, from the 2009 AGM on Austen’s Brothers and Sisters..

2.  The New York Public Library’s online Digital Collection has a variety of collections worth looking at; here is one that is Austen-related:

Before Victoria: Extraordinary Women of the British Romantic Era

They toil not indeed, nor indeed do they spin. | Yet they never are idle when once they begin. | But are very intent on increasing their store. | And always keep shuffling & cutting for more.

Image ID: PS_CPS_CD4_051

They toil not indeed, nor indeed do they spin. | Yet they never are idle when once they begin. | But are very intent on … (1807) [Bath Guide. Image from the NYPL Digital Collection]

3.  A blog just discovered:  Bitch in a Bonnet, “reclaiming Jane Austen from the stiffs, the snobs, the simps and the saps”

4.  Sotheby’s Auction:  A Celebration of the English Country House, April 15, 2010:  click here for the online catalogue

5.  News on the Winchester Cathedral Jane Austen Exhibit:

Jane Austen exhibition reveals author’s life and brings new prominence to her final resting place

22 March 2010. As the bicentenary decade of Jane Austen’s heyday and early death approaches, a new permanent exhibition at her resting place in Winchester Cathedral opens on 10 April 2010 to unveil the life and times of the renowned author like never before.

The exhibition, which will document Jane’s home and social life, will be supported by a mix of permanent and rolling exhibits borrowed from collections around the world.  From 10 April until 20 September items from Winchester Cathedral’s and Winchester College’s archives will be on display.  Some of these items have rarely, if ever, been displayed publicly before and include her burial register, first editions and fragments of Jane’s own writing.

Guided tours, specific exhibition and talks will take visitors through her life and works to mark her legacy and set the stage for Jane’s bicentenary.  Stand out events are:

I May: Special Evensong to mark Jane Austen’s life, and place in the Cathedral’s history

16-18 July: Jane Austen Weekend (including Regency Dinner) which coincides with the Jane Austen Society AGM

5-6 August: Outside theatre production of Pride and Prejudice

Extended tours which take visitors beyond the Cathedral to see Jane’s final home just beyond the Cathedral Inner Close.

6.  London Remembers, a site documenting all the memorials in London [people, events, etc.] – search “Jane Austen” and two sites come up, both locations where her brother Henry Austen lived in London.

7.  Search the blog London Calling for “Jane Austen” and you will find a number of posts on Austen:  about the theatre, William Wilberforce, Southampton, Steventon, etc. – informative posts with great photographs from this Austen-obsessed Londoner [lucky guy!]

8.  After Austen’s time, but an interesting online exhibit to view at Facing the Late Victorians, containing rarely seem images of and by British artists in the Mark Samuels Lasner Collection: [click on each image for an enlarged view]

Jane Austen · Social Life & Customs

The French Revolutionary Calendar

In the Oxford Austen online class I have just completed, I discovered a number of websites relating to the British Navy that we studied for the units on Mansfield Park and Persuasion.  The Historical Maritime Society has a wealth of information and is worth a look-see – I append here one bit of interesting revolutionary-era history that was new to me, and quite a good chuckle as well, so prepare for a belly-laugh!:

The French Revolutionary Calendar

One of the peculiar manifestations of the French Revolution was the adoption of a totally new calendar, ‘The Calendar of Reason’, which was based on the system used by the Ancient Egyptians. From time to time anyone reading contemporary documents will be aware of this system and a brief explanation is included here.

In the build-up to the Revolution it was not just the aristocratic class that was despised by the new ‘thinkers’ but also the Roman Catholic church with its all-pervading influence on the lives of ordinary people, its feasts and fasts, coupled with its reactionary support of the hated ‘aristos’. Consequently one of the aims of the 1789 Revolution was the rejection of the relatively new Gregorian calendar (promulgated by Pope Gregory) adopted by France in December 1582 (although not in Britain until 1752).

In 1792 the revolutionary Committee of Public Instruction began to investigate the possibilities of this change and formed a subcommittee to do this. It contained Astronomers, Mathematicians and also Poets and Dramatists and finally published the results of its deliberations in September 1793. This was followed by a decree in October bringing in the new calendar.

The start date for this was 22nd September 1792, the date which marked the start of the French Republic, a date which, it was claimed, marked the beginning of equality for all Frenchmen. The calendar consisted of 12 months, each with 30 days. On top of this there were to be 5 ‘jours complémentaires’ (originally called ‘sansculottides’ after the practice of common non-aristocrats of wearing trousers, not breeches) and leap years were to have an extra jour complémentaire. This was based on the Ancient Egyptian calendar, still used by some Eastern Orthodox Christian churches.

The poets among the committee chose the names of the new months and in particular this task fell to Philip François Nazaire Fabre d’Eglantine, whose nomenclature reflected the character of each particular month. These are presented below with an explanation (mine) of the word’s root. Remember when reading these that the calendar began in late September (Gregorian).

  • Vendémiaire Wine-harvesting
  • Brumaire  Foggy 
  • Frimaire  Frosty 
  • Nivose Snowy
  • Pluviôse  Rainy
  • Ventose  Windy
  • Germinal  Plant germination 
  • Floréal  Flowering season
  • Prairial  Meadows
  • Messidor Reaping and harvesting 
  • Thermidor  Heat
  • Fructidor  Fruit harvest 

 Predictably the furiously anti-French literary establishment across the Channel in Britain made fun of this by christening the months, Wheezy, Sneezy, Freezy, Slippy, Drippy, Nippy, Showery, Flowery, Bowery, Wheaty, Heaty and Sweety!!

 

[text from Historical Maritime Society – click here for more information:  when at the home page, click on “Nelson and his Navy” and follow the various links]

Further Reading:

[Posted by Deb]

Jane Austen · News

Austen! Austen! everywhere ~

As I have been out of the loop the past few months and now trying to catch up, I will post several links of interest that I have been making notes of – some old news, some VERY old, some off topic but interesting none the less, and some worth repeating, but in the words of Jane herself, that since I noted these, three months have passed,  so I “entreat you to bear in mind ….  that during that period,  places, manners, books and opinions have undergone considerable changes.” [Advertisement by the Authoress to Northanger Abbey].

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Here is a link to the Bodleian Library’s Centre for the Study of the Book project of conserving  Jane Austen’s Volume the First, her Juvenilia compilation that includes Henry & Eliza, The Adventures of Mr Harley, and The beautifull Cassandra. “Austen wrote in a ready-made bound blank-book and completed the transcript when she was seventeen. The manuscript was bought for the Bodleian Library through the Friends of the Bodleian in 1933 and was first published in an edition by R. W. Chapman (Oxford, 1933).”  [from the Bodleian website]

see the Bodleian Library Centre for the Study of the Book for more information and photographs.

[Volume the First, before conservation, from Bodleian website]

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A Richard Armitage alert! [2 items of literary interest]

                                                                      * Naxos Audiobooks will be releasing Georgette Heyer’s Venetia with the velvet sounds of Richard Armitage – alas! it is, like his previous outing on Sylvester, abridged, but certainly worth the listening – then buy the book and fill in the blanks!

Release date in April, so watch for details – you can order the cd or download directly.

 

 

 

Radio Productions: “Clarissa” by Samuel Richardson
Adapted in four parts for the Radio 4 Classic Serial by Hattie Naylor.
14th, 21st, 28th March and 4th April 2010 at 3pm – Radio 4.
And repeated following Saturday at 9pm.

CAST
* Robert Lovelace is played by Richard Armitage
* Clarissa Harlowe is played by Zoe Waites
* The company: Alison Steadman, Deborah Findlay, Miriam Margolyes, Oliver Milburn, John Rowe, Julian Rhind-Tutt, Adrian Scarborough, Stephen Critchlow, Cathy Sara, Sophie Thompson, Ellie Beaven, Lisa Hammond and Linda Broughton.

“Clarissa” is directed by award-winning classic serial director Marilyn Imrie and is a Catherine Bailey production for BBC Radio 4.  Click here for more information; click here for the podcast of the first two shows.

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Teaching Pride & Prejudice:  four blog posts from Dana Huff, a high school English teacher, on her Huffenglish blog: [these are from 2008, but I just discovered them… see disclaimer above!]

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More handsome men reading Austen at the Carte Noire website, this time Joseph Fiennes and Sense and Sensibility.  And stay around for awhile and listen also to Dan Stevens, Dominic West, and Greg Wise…

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Marvel Comics, after its successful five-issue run of Pride & Prejudice, will be publishing its latest venture into Jane Austen territory with Sense & Sensibility – contact your local comics retailer and subscsribe today.  Release date is May 26, 2010

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More tomorrorw….

[Posted by Deb]

Books · Jane Austen

Mrs. Tilney’s Bed-Chamber ~ and Henry Tilney’s Gentle Reprimand…

Today, March 23, Catherine Morland visits Mrs. Tilney’s bed-chamber,  where she expects to find some evidence of her murder by General Tilney, or even perhaps that she has been locked away in some distant tower – but Catherine realizes how gravely mistaken she has been in all her gothic musings,  perceiving “the warm beams of a western sun gaily pour[ing] through two sash windows!” … and she turns to leave…

 

 She was sick of exploring, and desired but to be safe in her own room, with her own heart only privy to its folly; and she was on the point of retreating as softly as she had entered, when the sound of footsteps, she could hardly tell where, made her pause and tremble. To be found there, even by a servant, would be unpleasant; but by the general (and he seemed always at hand when least wanted), much worse! She listened — the sound had ceased; and resolving not to lose a moment, she passed through and closed the door. At that instant a door underneath was hastily opened; someone seemed with swift steps to ascend the stairs, by the head of which she had yet to pass before she could gain the gallery. She had no power to move. With a feeling of terror not very definable, she fixed her eyes on the staircase, and in a few moments it gave Henry to her view.

 “Mr. Tilney!”  she exclaimed in a voice of more than common astonishment.

He looked astonished too.

“Good God!” she continued, not attending to his address.  “How came you here? How came you up that staircase?”

 “How came I up that staircase!”,  he replied, greatly surprised.  “Because it is my nearest way from the stable–yard to my own chamber; and why should I not come up it?”

 Catherine recollected herself, blushed deeply, and could say no more. He seemed to be looking in her countenance for that explanation which her lips did not afford. She moved on towards the gallery.  

“And may I not, in my turn,”  said he, as he pushed back the folding doors,  “ask how you came here? This passage is at least as extraordinary a road from the breakfast–parlour to your apartment, as that staircase can be from the stables to mine.”

“I have been,”  said Catherine, looking down,  “to see your mother’s room.”

“My mother’s room! Is there anything extraordinary to be seen there?”

“No, nothing at all. I thought you did not mean to come back till tomorrow.”

“I did not expect to be able to return sooner, when I went away; but three hours ago I had the pleasure of finding nothing to detain me. You look pale. I am afraid I alarmed you by running so fast up those stairs. Perhaps you did not know — you were not aware of their leading from the offices in common use?”

“No, I was not. You have had a very fine day for your ride.”

“Very; and does Eleanor leave you to find your way into all the rooms in the house by yourself?”

“Oh! No; she showed me over the greatest part on Saturday — and we were coming here to these rooms — but only” —[  dropping her voice ] — “your father was with us.”

“And that prevented you,” [ said Henry, earnestly regarding her. ]“Have you looked into all the rooms in that passage?”

“No, I only wanted to see — Is not it very late? I must go and dress.”

 “It is only a quarter past four” showing his watch — “and you are not now in Bath. No theatre, no rooms to prepare for. Half an hour at Northanger must be enough.”

She could not contradict it, and therefore suffered herself to be detained, though her dread of further questions made her, for the first time in their acquaintance, wish to leave him. They walked slowly up the gallery.

“Have you had any letter from Bath since I saw you?”

“No, and I am very much surprised. Isabella promised so faithfully to write directly.”

“Promised so faithfully! A faithful promise! That puzzles me. I have heard of a faithful performance. But a faithful promise — the fidelity of promising! It is a power little worth knowing, however, since it can deceive and pain you. My mother’s room is very commodious, is it not? Large and cheerful–looking, and the dressing–closets so well disposed! It always strikes me as the most comfortable apartment in the house, and I rather wonder that Eleanor should not take it for her own. She sent you to look at it, I suppose?”

 “No.”

“It has been your own doing entirely?”[  Catherine said nothing. After a short silence, during which he had closely observed her, he added, ] “As there is nothing in the room in itself to raise curiosity, this must have proceeded from a sentiment of respect for my mother’s character, as described by Eleanor, which does honour to her memory. The world, I believe, never saw a better woman. But it is not often that virtue can boast an interest such as this. The domestic, unpretending merits of a person never known do not often create that kind of fervent, venerating tenderness which would prompt a visit like yours. Eleanor, I suppose, has talked of her a great deal?”

“Yes, a great deal. That is — no, not much, but what she did say was very interesting. Her dying so suddenly”  (slowly, and with hesitation it was spoken),  “and you — none of you being at home — and your father, I thought — perhaps had not been very fond of her.”

“And from these circumstances,”  he replied (his quick eye fixed on hers),  “you infer perhaps the probability of some negligence — some” — (involuntarily she shook her head)  — “or it may be — of something still less pardonable.”  She raised her eyes towards him more fully than she had ever done before.  “My mother’s illness,”  he continued,  “the seizure which ended in her death, was sudden. The malady itself, one from which she had often suffered, a bilious fever — its cause therefore constitutional. On the third day, in short, as soon as she could be prevailed on, a physician attended her, a very respectable man, and one in whom she had always placed great confidence. Upon his opinion of her danger, two others were called in the next day, and remained in almost constant attendance for four and twenty hours. On the fifth day she died. During the progress of her disorder, Frederick and I (we were both at home) saw her repeatedly; and from our own observation can bear witness to her having received every possible attention which could spring from the affection of those about her, or which her situation in life could command. Poor Eleanor was absent, and at such a distance as to return only to see her mother in her coffin.”

“But your father,”  said Catherine,  “was he afflicted?”

 “For a time, greatly so. You have erred in supposing him not attached to her. He loved her, I am persuaded, as well as it was possible for him to — we have not all, you know, the same tenderness of disposition — and I will not pretend to say that while she lived, she might not often have had much to bear, but though his temper injured her, his judgment never did. His value of her was sincere; and, if not permanently, he was truly afflicted by her death.”

 “I am very glad of it,”  said Catherine;  “it would have been very shocking!”

 “If I understand you rightly, you had formed a surmise of such horror as I have hardly words to — Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained. What have you been judging from? Remember the country and the age in which we live. Remember that we are English, that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you. Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known, in a country like this, where social and literary intercourse is on such a footing, where every man is surrounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? Dearest Miss Morland, what ideas have you been admitting?”

 They had reached the end of the gallery, and with tears of shame she ran off to her own room…. [next chapter]  The visions of romance were over.  Catherine was completely awakened…

[Northanger Abbey, Vol. II, Chap. IX [ch. 24]]
illustration:  by C.E. Brock from www.Mollands.net 

[Posted by Deb]

Books · Jane Austen

Henry Tilney’s Gothic Parody

Today [March 20] is the day that the Tilneys and Catherine leave Bath for Northanger Abbey – Catherine is riding with the innumerably-caped- greatcoated Henry:

“…she found herself with Henry in the curricle, as happy a being as ever existed. A very short trial convinced her that a curricle was the prettiest equipage in the world… the merit of the curricle did not all belong to the horses; Henry drove so well — so quietly — without making any disturbance, without parading to her, or swearing at them: so different from the only gentleman–coachman whom it was in her power to compare him with! And then his hat sat so well, and the innumerable capes of his greatcoat looked so becomingly important! To be driven by him, next to being dancing with him, was certainly the greatest happiness in the world.”

[NA, vol. II, ch. V] 

 

…and Henry begins his gothic tale setting Catherine well on her way to having her own imagination run wild.  Here is the full text, as you must read the whole!:

“….you must be so fond of the abbey! After being used to such a home as the abbey, an ordinary parsonage–house must be very disagreeable.” 

He smiled, and said, “You have formed a very favourable idea of the abbey.”

 “To be sure, I have. Is not it a fine old place, just like what one reads about?”

 “And are you prepared to encounter all the horrors that a building such as ‘what one reads about’ may produce? Have you a stout heart? Nerves fit for sliding panels and tapestry?”

 “Oh! yes — I do not think I should be easily frightened, because there would be so many people in the house — and besides, it has never been uninhabited and left deserted for years, and then the family come back to it unawares, without giving any notice, as generally happens.”

 “No, certainly. We shall not have to explore our way into a hall dimly lighted by the expiring embers of a wood fire — nor be obliged to spread our beds on the floor of a room without windows, doors, or furniture. But you must be aware that when a young lady is (by whatever means) introduced into a dwelling of this kind, she is always lodged apart from the rest of the family. While they snugly repair to their own end of the house, she is formally conducted by Dorothy, the ancient housekeeper, up a different staircase, and along many gloomy passages, into an apartment never used since some cousin or kin died in it about twenty years before. Can you stand such a ceremony as this? Will not your mind misgive you when you find yourself in this gloomy chamber — too lofty and extensive for you, with only the feeble rays of a single lamp to take in its size — its walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funereal appearance? Will not your heart sink within you?”

“Oh! But this will not happen to me, I am sure.”

 “How fearfully will you examine the furniture of your apartment! And what will you discern? Not tables, toilettes, wardrobes, or drawers, but on one side perhaps the remains of a broken lute, on the other a ponderous chest which no efforts can open, and over the fireplace the portrait of some handsome warrior, whose features will so incomprehensibly strike you, that you will not be able to withdraw your eyes from it. Dorothy, meanwhile, no less struck by your appearance, gazes on you in great agitation, and drops a few unintelligible hints. To raise your spirits, moreover, she gives you reason to suppose that the part of the abbey you inhabit is undoubtedly haunted, and informs you that you will not have a single domestic within call. With this parting cordial she curtsies off — you listen to the sound of her receding footsteps as long as the last echo can reach you — and when, with fainting spirits, you attempt to fasten your door, you discover, with increased alarm, that it has no lock.”

 “Oh! Mr. Tilney, how frightful! This is just like a book! But it cannot really happen to me. I am sure your housekeeper is not really Dorothy. Well, what then?”

 “Nothing further to alarm perhaps may occur the first night. After surmounting your unconquerable horror of the bed, you will retire to rest, and get a few hours’ unquiet slumber. But on the second, or at farthest the third night after your arrival, you will probably have a violent storm. Peals of thunder so loud as to seem to shake the edifice to its foundation will roll round the neighbouring mountains — and during the frightful gusts of wind which accompany it, you will probably think you discern (for your lamp is not extinguished) one part of the hanging more violently agitated than the rest. Unable of course to repress your curiosity in so favourable a moment for indulging it, you will instantly arise, and throwing your dressing–gown around you, proceed to examine this mystery. After a very short search, you will discover a division in the tapestry so artfully constructed as to defy the minutest inspection, and on opening it, a door will immediately appear — which door, being only secured by massy bars and a padlock, you will, after a few efforts, succeed in opening — and, with your lamp in your hand, will pass through it into a small vaulted room.”

“No, indeed; I should be too much frightened to do any such thing.”

 “What! Not when Dorothy has given you to understand that there is a secret subterraneous communication between your apartment and the chapel of St. Anthony, scarcely two miles off? Could you shrink from so simple an adventure? No, no, you will proceed into this small vaulted room, and through this into several others, without perceiving anything very remarkable in either. In one perhaps there may be a dagger, in another a few drops of blood, and in a third the remains of some instrument of torture; but there being nothing in all this out of the common way, and your lamp being nearly exhausted, you will return towards your own apartment. In repassing through the small vaulted room, however, your eyes will be attracted towards a large, old–fashioned cabinet of ebony and gold, which, though narrowly examining the furniture before, you had passed unnoticed. Impelled by an irresistible presentiment, you will eagerly advance to it, unlock its folding doors, and search into every drawer — but for some time without discovering anything of importance — perhaps nothing but a considerable hoard of diamonds. At last, however, by touching a secret spring, an inner compartment will open — a roll of paper appears — you seize it — it contains many sheets of manuscript — you hasten with the precious treasure into your own chamber, but scarcely have you been able to decipher ‘Oh! Thou — whomsoever thou mayst be, into whose hands these memoirs of the wretched Matilda may fall’ — when your lamp suddenly expires in the socket, and leaves you in total darkness.”

“Oh! No, no — do not say so. Well, go on.”

 But Henry was too much amused by the interest he had raised to be able to carry it farther; he could no longer command solemnity either of subject or voice, and was obliged to entreat her to use her own fancy in the perusal of Matilda’s woes. Catherine, recollecting herself, grew ashamed of her eagerness, and began earnestly to assure him that her attention had been fixed without the smallest apprehension of really meeting with what he related. “Miss Tilney, she was sure, would never put her into such a chamber as he had described! She was not at all afraid.”

[NA, vol II, ch. V]

[Illustration, The Mysteries of Udolpho, Vol. 4, p. 217 (London: Longman, Rees, Orme, Brown and Green, 1830).  From wwnorton.com]

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 Sleep well! – hope to see many of you tomorrow at our gathering to celebrate Northanger Abbey!

[Posted by Deb]