Quote Jane

“There is a stubbornness about me that never can bear to be frightened at the will of others. My courage always rises at every attempt to intimidate me.” ― Jane Austen, Pride and Prejudice

donderdag 7 juni 2018

Pride and Prejudice rose.

Our Pride and Prejudice rose in the courtyard has come out beautifully! Developed by the wonderful Harkness Roses.

dinsdag 29 augustus 2017

Life seems but a quick succession of busy nothings.

I found a very nice Dutch  blog about Victorian Times. myinnervictorian/jane-austen-quotes
  1. There are as many forms of love as there are moments in time.” – brieven.
  2. “Life seems but a quick succession of busy nothings” – Mansfield Park (1814).
  3. “Oh! I am delighted with the book! I should like to spend my whole life in reading it.” – Northanger Abbey (1817).
  4. “Which of all my important nothings shall I tell you first?” – brieven.
  5. “I will not say that your mulberry-trees are dead, but I’m afraid they are not alive.” – brieven.
  6. “When I fall in love, it will be forever.” – Sense and Sensibility (1811).
  7. “She denied none of it aloud, and agreed to none of it in private.” – Emma (1815).
  8. Run mad as often as you choose, but do not faint.” Mansfield Park (1814).
  9. “I speak what appears to me the general opinion; and where an opinion is general, it is usually correct.” Mansfield Park (1814).
  10. “Laugh as much as you choose, but you will not laugh me out of my opinion.” Pride and Prejudice (1813).
  11. “Every man is surrounded by a neighbourhood of voluntary spies.” Northanger Abbey (1817).

dinsdag 18 juli 2017

Anniversary of Jane Austen's death

On July 18, 1817, died at 41. 200 years later, Austen lives on as a global brand, an 'immortal genius.'

'World's first' statue of JANE AUSTEN unveiled today in Basingstoke

View from Jane Austen’s window in Chawton 
Honoring power of girlfriend word-of-mouth on this day she died in 1817

New £10: •marks 200th anniversary of Jane Austen's death

donderdag 6 juli 2017

Jane Austen's House Museum.

'A Quire of Paper: A Poem for Jane Austen and Her House' presented by Maura Dooley, former Poet in Residence at Jane Austen's House Museum, will air this Sunday at 4:30pm on BBC Radio 4. Read more: http://bit.ly/2tLwrcs 

maandag 3 juli 2017

There are 24 beautiful BookBenches to discover.

One bench in the splendid city of

is a public art trail for 2017 made up of BookBenches each designed and painted by professional artists to celebrate 's life.

There are 24 beautiful BookBenches to discover – each designed and painted by a professional artist inspired by the life and work of Jane Austen. As you can see there is incredible variety in theme, colour and style. sittingwithjane

Great day out in

Another one at

Steventon @ st Nicholas' Church

vrijdag 9 juni 2017

Chawton House Library

Elsewhere in the village Chawton House Library (above) has become an internationally respected research and learning centre for the study of early women’s writing from 1600 to 1830. Set in the manor house that once belonged to Austen’s brother, Edward, the library, house and gardens are also open to the general public.

How Jane Austen's mystery woman was edited out of history

Historian Lucy Worsley suggested this week that although Austen almost certainly never slept with a man, she may instead have slept with a woman. We know not if her relations with Sharp were anything more than platonic, but either way, the obscurity of the latter is just as Austen’s relatives would have wished it. While the great novelist considered her correspondent a most treasured confidante, Austen’s family took a very different view of Anne. For this woman was a member of the servant class. Indeed, she’d worked for the Austens themselves – as a governess to Jane’s niece.

Such a friendship flouted the social norms of the time. By keeping it out of official versions of Austen’s life, the family could create a false image of the famous author as a conservative maiden aunt, devoted above all else to kith and kin. As a result, the close bond she shared with Anne, who wrote plays in between teaching lessons, has become one of literature’s most enduring secrets.

A Secret Sisterhood: The hidden friendships of Austen, Brontë, Eliot and Woolf by Emily Midorikawa and Emma Claire Sweeney will be published by Aurum Press on 1 June 2017 (£20).

Jane and her Alton Apothecary

When Jane Austen felt unwell her first recourse would have been to consult an apothecary. Today we tend to think of apothecaries as a relic of the middle ages, a cross between a magician and an alchemist, peddling dubious potions that were likely to do more harm than good.  In fact they were the precursors of today’s dispensing chemists, spending up to 7 years training. In the early stages of her illness Jane had been treated by William Curtis, a qualified Apothecary in Alton. His story offers a fascinating insight into the role played by members of this ancient profession within their local communities. It is possible that William himself may have been the model for the character of Mr Perry, the apothecary in Emma, who was said to be ‘an intelligent, gentlemanlike man’.

Austen paid £38.90 for Emma.

Jane Austen received only one cheque from her publisher, John Murray, for her fourth novel, Emma. It was for the unprincely sum of 38 pounds, 18 shillings and one penny (£38.90, worth about £3,480 today) — and they spelt her name wrong. It was written for “Austin” rather than Austen.
The cheque will go on display at the Which Jane Austen? exhibition at the Bodleian Library in Oxford from June 23, along with newly discovered letters.
Kathryn Sutherland, a professor of bibliography at Oxford University and curator of the exhibition, said: “The only way Jane could cash it [the cheque] was by counter-signing it on the…
? exhibition: the cheque for £38.90 that Austen was payed for Emma.

vrijdag 2 juni 2017

the gardens of Chawton House Library and the Jane Austen’s House Museum

Saturday 10th June 2017
Venue: Chawton House Library
Join us for this biennial event when Chawton Village opens its gardens to raise funds for village projects. Enjoy

exploring the gardens of Chawton House Library and the Jane Austen’s House Museum as well as many other charming gardens – and don’t forget to find the scarecrows in our ‘wilderness’!

donderdag 4 mei 2017

The Many Ways in Which We Are Wrong About Jane Austen Lies, Damn Lies, and Literary Scholarship

We’re going to be seeing a lot more of Jane Austen. 2017 is the bicentenary of her tragically early death at the age of 41.

We know so little about Jane’s life, and that little is so difficult to interpret accurately, that we can’t afford to dismiss what’s revealed in her fiction. At least it speaks, and at least it was written by her. As for the rest, there are so many gaps, so many silences, so much that has been left vague, or imprecise, or reported at second or third hand, that the task of filling everything in is very far from being the “short and easy” one that her brother Henry—the first of her many biographers—claimed in his “Biographical Notice of the Author.”

Jane talks in one letter about wanting readers who have “a great deal of ingenuity,” who will read her carefully. In wartime, in a totalitarian regime, and in a culture that took the written word far more seriously than we do, she could have expected to find them. Jane expected to be read lowly—perhaps aloud, in the evenings, or over a period of weeks as each volume was borrowed in turn from the circulating library. She expected that her readers would think about what she wrote, would even discuss it with each other. She never expected to be read the way we read her, gulped down as escapist historical fiction, fodder for romantic fantasies. Yes, she wanted to be enjoyed; she wanted people to feel as strongly about her characters as she did herself. But for Jane a story about love and marriage wasn’t ever a light and frothy confection. Generally speaking, we view sex as an enjoyable recreational activity; we have access to reliable contraception; we have very low rates of maternal and infant mortality. None of these things were true for the society in which Jane lived. The four of her brothers who became fathers produced, between them, 33 children. Three of those brothers lost a wife to complications of pregnancy and childbirth. Another of Jane’s sisters-in-law collapsed and died suddenly at the age of 36; it sounds very much as if the cause might have been the rupturing of an ectopic pregnancy, which was, then, impossible to treat. Marriage as Jane knew it involved a woman giving up everything to her husband—her money, her body, her very existence as a legal adult. Husbands could beat their wives, rape them, imprison them, take their children away, all within the bounds of the law. Avowedly feminist writers such as Mary Wollstonecraft and the novelist Charlotte Smith were beginning to explore these injustices during Jane’s lifetime. Understand what a serious subject marriage was then, how important it was, and all of a sudden courtship plots start to seem like a more suitable vehicle for discussing other serious things.

Read all: lithub/the-many-ways-in-which-we-are-wrong-about-jane-austen

dinsdag 18 april 2017

Muslin Shawl Reputedly embroidered by Jane Austen.

Like all women of her time and class, Jane Austen learnt to sew in childhood and gained a life-long skill. Sewing was something she was particularly good at. In 1796 Austen wrote in a letter that she was “the neatest worker” of a group making shirts for one of her brothers. Edward Austen-Knight remembered of his aunt that “Her needlework both plain and ornamental was excellent, and might almost have put a sewing machine to shame. She was considered especially great in satin stitch.”

Family history says Jane Austen embroidered this shawl. Without more pieces of Austen’s sewing to compare it is hard to be sure, and the crosses do resemble Indian work on other historic garments. What is clear from the repairs is that this shawl was a valued item of clothing, and its owner took great care of it. The careful, precise sewing on the hems, lace strip, darns and patches, show a highly-skilled needle-woman at work. jane-austens-house-museum

200th anniversary of the death of Jane Austen

This year is the 200th anniversary of the death of Jane Austen, the great English novelist whose works have been published to worldwide acclaim and continue to be enjoyed as plays, films, performances and of course, through the books themselves. The event will be especially commemorated in Hampshire – the rural county that Jane knew and loved – and in Bath. The anniversary is being marked with exhibitions, talks, walks and workshops and celebrated through costume, food and music – some of these events will no doubt be as part of the Jane Austen Annual Festival in Bath in September, whose special 2017 programme is still awaiting release.

Events will mainly be taking place at Winchester, because it was here that Jane Austen died aged 41, in rented lodgings close to the cathedral. Jane had come to Winchester from her Hampshire cottage at Chawton, accompanied by her beloved sister Cassandra, to seek medical help because of her failing health. royalcentral/royalty-and-jane-austen

woensdag 12 april 2017

Regency Lives Matter: Jane Austen So White? Not So Fast ... Olivia Murphy

These are very strange times for Jane Austen fans.
While it has been exciting to see many of the world's foremost Austen scholars quoted in the New York Times and the Guardian, it is hard not to be bemused by the spectacle of them defending her novels from appropriation by white supremacists, neo-Nazis and other members of the so-called alt-right. To be perfectly clear, Jane Austen was never a white supremacist. Such racist doctrines were barely coming into existence during her lifetime (1775-1817), and would not take hold until long after she had died.

What this minor scandal over Austen's popularity on certain far-right political sites suggests is that Austen - or rather the fictional world of Austen's novels - easily stands in for most people as shorthand for an all-white England of conservative values and decorous feminine behaviour.
Even Juliet Wells, a highly respected Austen scholar, was quoted in the New York Times saying that "Austen's characters are white, and her world is white."

But the white England of these assumptions is a myth, and always has been. We don't have photographs of Austen's era, and the Georgians had no concept of collecting the kind of demographic statistics that we're so fond of quoting. Nevertheless, there were plenty of black people - that is, people of recent sub-Saharan descent - along with people from many other national and ethnic backgrounds living in Jane Austen's England. We don't know exactly how many (no photographs, no statistics), just as we know very little about the great majority of people living in England in this period. Only when they come to the attention of historians, either through being famous, or being related to the famous, do we take note of them. A lot of black people in England worked in the service industry, as servants to wealthy households, as shopkeepers and as publicans, none of which are professions well studied in academia. We know almost nothing about the workers at the two exclusively black London brothels, for instance, but there have been books written about Saartje Baartman, Dido Elizabeth Belle and Samuel Johnson's heir Francis Barber, all well-known black people living in England during Austen's lifetime.

So why do so many people assume Austen's world is so white? Perhaps because they are experiencing her world largely through film and television, two media in which the long eighteenth century has, most certainly, been whitewashed. Ethnic and racial diversity was an historical reality throughout the Anglophone world and beyond in this period, and yet popular representations of the past, with very few exceptions, entirely feature white actors. It's easy to assume that Austen's world is all-white when all our favourite images of her period suggest just that.
And what about in Austen's own novels? Much has been made of Miss Lambe, the young "half Mulatto" heiress in Austen's unfinished last novel, Sanditon. But we don't know much about Miss Lambe's appearance - we just know that she's rich, which to Austen was far more important.
The truth is, Jane Austen, like many of her contemporaries, doesn't offer her readers much in the way of descriptions of her characters' appearance. We know, seeing through Darcy's eyes, that Elizabeth Bennet has a "light and pleasing" figure and "fine eyes." What colour those eyes are we never learn, let alone what colour Elizabeth's skin might be. As for Darcy, we know that he's tall. That's it. There is no compelling or historical reason at all for the next actor to play one of these coveted roles to be white.

It's long past time that representations of the pre-photographic past started to actually look like that past, just as images of our own society need to reflect the true composition of that society. Regency black lives matter, too.

Olivia Murphy is a Postdoctoral Fellow in English at The University of Sydney. She is the author of Jane Austen the Reader: The Artist as Critic and co-editor of Anna Letitia Barbauld: New Perspectives.

zaterdag 11 maart 2017

Jane Austen's Writing Table.

Austen family tradition indicates that Jane wrote daily and that she wrote at this small table placed by a window for light. Jane wore spectacles and was known to have some trouble with her eyes so light would have been important. Writing with a quill and using ink which she may have made for herself using the recipe that survives in Martha Lloyd’s recipe book.

The table was returned to the museum in 1957.  Only the table top is original as noted on the handwritten note attached to its underside when it was given to the Jane Austen Society by Brigadier B C Bradford.  The note was written by Bradford’s great uncle, Montague G. Knight, and reads: “This table was bought by Montague G. Knight of Chawton House, from a grandson of James Goodchild, who lived in Chawton village in Jane Austen’s time.”  Goodchild’s brother-in-law, William Littleworth, had been a servant for Mrs Austen, Jane’s mother, and when he was too old for work she furnished a cottage for him.  Amongst the furniture was the little table at which Littleworth claimed he “often saw Jane Austen writing”. jane-austens-house-museum/41-objects

donderdag 9 maart 2017

Jane Austen in 41 Objects.

200 years after her death, Jane Austen in 41 Objects is a celebration of Jane Austen’s life. Jane was only 41 years old when she died in 1817, and Jane Austen in 41 Objects tells the story of her life and legacy with reference to 41 different objects in the Jane Austen’s House Museum collection.

Jane Austen in 41 Objects takes the form of an evolving exhibition at the Museum from Friday 3 March alongside a series of online posts by guest writers published weekly throughout this bicentenary year. Each object and accompanying text explores a different aspect of Jane Austen’s life and work.

The story begins online at www.jane-austens-house-museum.org.uk on Friday 10 March and finishes on Friday 15 December, one day before Jane Austen’s birthday. 

Jane Austen Wallpaper.

Jane Austen's House Museum is launching its bicentenary commemorations with a reinterpretation of the house interior following discovery of wallpaper fragments.

Following the discovery of a number of fragments of Regency wallpapers in out-of-the-way corners of the house - dating from the early 19th century and the period in which Austen would have been living there with her mother and sister - the museum commissioned Hamilton Weston Wallpapers to reconstruct the patterns from these fragments and to create replica wallpapers.  Specialists in historic and reproduction wallpapers, Hamilton Weston have used the same hand block printing processes that would have been used during the 19th century to create the designs.    

A centre element of the trellis design on the fragments found in the Austen’s Family Room (right) initially proved a mystery to Hamilton Weston’s architectural historian, Robert Weston. After thought and research, he realised that the pin print motif on the design was actually the stem of a rose bud but with the bud print omitted. In addition, the wallpaper had been hung upside down, potentially to disguise the missing bud. It was printed incorrectly, perhaps by an early 19th century apprentice to the trade, and, as the household were not rich, one theory is that they purchased the design cheaply as a ‘second’ from the printers, as wallpaper was very expensive and heavily taxed from 1714 – 1836. 

Both replica wallpapers are now hanging in the rooms from which the corresponding fragments came - the “Chawton Vine” design in the Drawing Room and the “Apprentice Trellis” in the upstairs Family Room – for visitors to view when the house reopens on 3rd March.

Both designs, as well as a third, the “Chawton Rosebud Moiré” which features the rosebud believed to have been the intended outcome, are available for purchase via the museum shop. jane-austens-house-museum

vrijdag 10 februari 2017

The 9th Annual Jane Austen Festival.

Welcome to the Jane Austen Society of North America- Greater Louisville Region!

Who are we? We are fans of Jane Austen either through her books or many movie adaptations.  We formed in July of 2007 and haven’t looked back!  We now have approximately 160 members.  We meet monthly at Locust Grove and have wonderful programs (see Calendar of Events) and serve afternoon tea at the conclusion of each meeting.

Jane Austen at 200: still a friend and a stranger.

As the anniversary of her death approaches, Jane Austen and her work will be celebrated across the country. Lucy Worsley explores why such a well-loved author remains so mysterious

Downright nonsense” was the verdict of Mrs Augusta Bramston, a Hampshire friend and neighbour of the Austen family, on reading Pride and Prejudice. In 1814, Jane Austen published Mansfield Park, a sophisticated study of love and family life. Mrs Bramston nevertheless thought she ought to give it go, and having struggled through volume one, “flattered herself she had got through the worst”.

Jane Austen recorded this and other hilarious remarks from friends in a list of opinions on Mansfield Park. The document, in Austen’s own neat handwriting, is just one of the funny and sad items in the British Library’s new exhibition, Jane Austen Among Family and Friends, which opened on Tuesday.

Austen surely recorded the comments in a spirit of malicious mockery rather than regret. Even if only a small number of readers appreciated her at the time of her death in 1817, she hopefully knew just how brilliant a writer she was. Two hundred years later, everyone knows it. Her face is to appear on £10 notes and £2 coins, and the bicentenary of her death will see a slew of exhibitions showcasing her writing and world. Read all: theguardian/jane-austen-200-anniversary

donderdag 8 december 2016

Wentworth Woodhouse

When the chancellor of the Exchequer announced this week that the British government planned to pour £7.6 million, about $9.48 million, into restoring Wentworth Woodhouse, an English stately home “said to be the inspiration for Pemberley in Jane Austen’s ‘Pride and Prejudice,’” he probably didn’t expect a backlash. But that’s just what he got.

“There is absolutely no evidence that Jane Austen ever traveled further north than Lichfield in Staffordshire,” the Jane Austen Society of the United Kingdom said after the announcement, part of the Autumn Statement by the chancellor, Philip Hammond, which outlines the government’s overall spending plan. Wentworth Woodhouse is about 70 miles north of Lichfield.

“Jane Austen, herself only too keenly aware of the value of money, and of the need for veracity, would have been savvy enough to know that a building the size of Wentworth Woodhouse with its estimated number of over 300 rooms and its estate of over 15,000 acres could not possibly have been supported on Mr. Darcy’s reported income of a mere £10,000 per annum,” the statement continued. nytimes

woensdag 30 maart 2016

Nieuwe biografie over Jane Austen aangekondigd

Historica Lucy Worsley komt in 2017 met een nieuwe biografie over Jane Austen. Dat meldt de boekenvakwebsite The Bookseller. Het boek heeft de werktitel At Home with Jane Austen. Het vertelt het levensverhaal van de schrijfster aan de hand van locaties en bezittingen die belangrijk voor haar waren.

Lucy Worsley is ‘Chief Curator’ bij de Britse Historic Royal Palaces. Daarnaast schrijft ze geschiedenisboeken en historische romans en maakt ze programma’s over historische onderwerpen voor de BBC.

‘Perfect biographer’
Maddy Price van uitgever Hodder Staughton licht de keuze voor Worsley als volgt toe:

“I have long admired and enjoyed Lucy Worsley’s books and television work, and I am thrilled to be publishing her biography of Jane Austen, another hero of mine. Lucy’s knowledge of the period makes her the perfect biographer and her wonderful writing style will truly bring Jane Austen and her world to life.”
Read all: janeausten

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zondag 6 maart 2016

Emma 1816:"" English verdure, English culture, English comfort, seen under a sun bright, without being oppressive.”

Chawton House Library is celebrating the 200th anniversary of the publication of Jane Austen’s Emma, by John Murray, in December 1815, with a landmark exhibition ‘Emma at 200: from English Village to Global Appeal’. Dr. Gillian Dow, Executive Director, Chawton House Library and curator of the exhibition said, “I am pleased to say that the interest in our exhibition on the much-loved novel has already been “global” and we are looking forward to welcoming visitors from around the world when we open the exhibition on the 21st March.”

We have been fortunate enough to have a wide range of exhibits offered to us on loan from some of the world’s most prestigious research libraries, including the National Library of Scotland, the Huntington Library in California, King’s College, Cambridge, and the University of Göttingen, Germany. We will exhibit unique items such as a letter from Charlotte Brontë on her reading of Emma, a rare first English edition, the first American edition and the first French translation, first editions of books mentioned in Emma, and manuscript material, including music books, commonplace books, and original letters from other nineteenth-century women writers who read and responded to Jane Austen.

However, the opportunity to exhibit such treasured possessions for the very first time at Chawton House Library does come at a price. For even though the items are kindly being loaned to us for free, we have to cover all the extra logistical costs, such as transport, security and insurance.

To help us meet these exceptional costs, we need to raise at least £8,000.
Every donation, no matter how small, will be gratefully received and will help contribute towards the cost of staging this important exhibition.

Spring is coming. !!

vrijdag 12 februari 2016

Charlotte Rampling to star in Jane Austen adaptation 'Sanditon'

Oscar-nominee Charlotte Rampling (45 Years) is to star in a film adaptation of Jane Austen’s never-before dramatised final novel Sanditon. Jim O’Hanlon (A Hundred Streets), director of the 2009 BBC TV adaptation of Austen’s Emma, will direct from a script by British playwright Simon Reade who produces with Guy de Beaujeu for Fluidity Films (Private Peaceful). Goldcrest Film has boarded sales and finance on the project on the verge of the EFM. Goldcrest’s Nick Quested and Pascal Degove will serve as executive producers. Production is anticipated to begin in summer 2016 in the UK with additional casting underway. Austen died in July, 1817 having written the first eleven chapters of Sanditon. The unfinished manuscript, which blends the writer’s hallmark coruscating satire and romantic comedy, was bequeathed to her niece.

Rampling is due to play the imperious nouveau-riche Lady Denham in the feature which charts the story of Charlotte Heywood who is invited by eternal optimist and entrepreneur Tom Parker to spend the summer season at Sanditon. Intrigued to see (not so) polite society at play in the newly fashionable sea bathing resort, Heywood encounters a string of familiar Austen characters including Denham, the lecherous Sir Edward and the dashing, feckless Sidney Parker and his hypochondriac sisters. Pascal Degove, managing director at Goldcrest Films commented: “Charlotte Rampling is responsible for so many indelible performances, she is perfect for the crucial role of the scheming Lady Denham. This is a genuinely fresh take on a well-loved genre – we expect enormous excitement from cinemagoers and distributors alike.”

Simon Reade and Guy de Beaujeu of Fluidity Films continued: “This is a brand new, never before seen Jane Austen. Her legions of fans worldwide will be thrilled with Sanditon’s romance, comedy, sardonic wit and its clever take on the modern obsessions of health and wealth that is quintessentially Jane Austen.” Screen icon Rampling - who found herelf in the middle of a media storm last month following comments made about diversity during an interview with French radio - has been universally acclaimed for her performance in Andrew Haigh’s drama 45 Years, which saw her pick up acting awards in Berlin and Edinburgh, among other festivals. She will next be seen in Ritesh Batra’s The Sense Of An Ending alongside Jim Broadbent, Michelle Dockery and Emily Mortimer.
Austen werd geboren in Hampshire. Haar vader was een geestelijke. Het grootste deel van haar leven bleef zij in haar geboortestreek. Austen had zes broers en een oudere zuster, Cassandra, met wie zij zeer hecht was. Het enige onbetwiste portret van Jane Austen is een gekleurde schets die door Cassandra werd gemaakt en nu in de National Portrait Gallery in Londen hangt. In 1801 verhuisde de familie naar Bath. In 1802 werd Austen ten huwelijk gevraagd door de rijke Harris Bigg-Wither en zij stemde toe; de volgende dag deelde ze echter mee dat zij haar woord niet kon houden en trok haar instemming in. De reden hiervoor is niet bekend, maar Austen is nooit getrouwd. Na de dood van haar vader in 1805 woonden Jane, haar zuster en haar moeder daar nog verscheidene jaren tot zij in 1809 naar Chawton verhuisden. Hier had haar rijke broer Edward een landgoed met een plattelandshuisje, dat hij aan zijn moeder en zusters schonk (dit huis is tegenwoordig open voor het publiek). Zelfs nadat zij naam gemaakt had als romanschrijfster bleef zij in relatieve stilte leven, maar haar gezondheid ging sterk achteruit. Er wordt nu aangenomen dat zij de ziekte van Addison had, waarvan toen de oorzaak nog onbekend was. Ze reisde naar Winchester om behandeling te zoeken, maar stierf daar en werd begraven in de kathedraal.
Tot Austens beroemdste werk behoort de roman Emma. Het boek wordt vaak aangehaald vanwege de perfectie van vorm. Moderne critici blijven ook nieuwe perspectieven ontdekken op het scherpe commentaar van Austen betreffende de klasse van jonge, ongehuwde, aristocratische Engelse vrouwen in de vroege 19e eeuw.


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