maandag 26 april 2010

News on the Winchester Cathedral Jane Austen Exhibit:

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.



Isabel Bishop (1902–1988)
Scene from Pride and Prejudice: "The examination of all the letters which Jane had written to her." 20th century
Pen and black ink, gray wash, over pencil
Gift of Mrs. Robert E. Blum in honor of Charles Ryskamp on his 10th anniversary as director, 1979; 1979.32:15
Photography by Schecter Lee, 2009.

Miss Austen Regrets


De NCRV zendt woensdag 9 juni de film Miss Austen Regrets uit.

Een film over het leven, en de liefdes, van de 18e eeuwse Jane Austen, succesvol schrijfster van romans als Pride and Prejudice, Sense and Sensibility en Emma. De tv-film Miss Austen Regrets is gebaseerd op brieven en dagboekfragmenten van Jane Austen. Met onder meer Greta Scacchi (als Cassandra Austen), Hugh Bonneville (Reverend Brook Bridges) en Adrian Edmondson (Henry Austen).
De tv-film begint als Jane Austen al een succesvol schrijfster is. Ze heeft dan al de geroemde romans Pride and Prejudice, Sense and Sensebility en Mansfield Park gepubliceerd en Emma is bijna voltooid. Voor haar nicht Fanny Knight, die dolgraag verliefd wil worden, is Jane haar favoriete tante. Een tante vol wijsheid en kennis die Fanny kan helpen in haar zoektocht naar de ideale huwelijkskandidaat. Want haar tante, die zo mooi over de liefde kan schrijven, moet tenslotte zelf toch ook de liefde hebben ervaren? Fanny is vastbesloten om de waarheid te achterhalen achter de mannen in het leven van de jeugdige Jane. Zoals Harris Big, wiens aanzoek Jane in eerste instantie accepteerde, maar dat zij later toch verwierp. Of Edward Brydges die de ideale huwelijkskandidaat had kunnen zijn, en haar liefde voor de jonge chirurg Mr. Haden. Maar Jane beseft dat deze liefdes nu allemaal tot het verleden behoren.

Miss Austen Regrets laat een Jane Austen zien die vermoedelijk dichter bij de waarheid ligt dan in de eveneens biografische film ‘Becoming Jane’. Hoofdrolspeelster Olivia Williams toont de vele kanten van Jane Austen: de liefdevolle tante, de flirt en de vrouw met de scherpe blik, die zich nogal eens verborg achter haar humor. Een aanrader!

zaterdag 24 april 2010

Jane Austen's Sewing Box

Jane Austen's Sewing Box opens a window into the lives of Regency women during a beautiful period in arts, crafts and design. Jennifer Forest examines Jane Austen's novels and letters to reveal a world where women are gripped by crazes for painting on glass and netting purses, economise by trimming an old bonnet, or eagerly turn to their sewing to avoid an uncomfortable conversation. Based on Jane Austen's novels and with illustrated step-by-step instructions for eighteen craft projects, this beautifully presented book will delight Jane Austen fans, lovers of history and literature and craft enthusiasts alike.

woensdag 14 april 2010

Diverse films Pride and prejudice


P&P First Proposals from Maria Grazia on Vimeo.

Brief van Jane Austen


Steventon: Saturday (January 9).


In the first place I hope you will live twenty-three years longer. Mr. Tom Lefroy's birthday was yesterday, so that you are very near of an age.

After this necessary preamble I shall proceed to inform you that we had an exceeding good ball last night, and that I was very much disappointed at not seeing Charles Fowle of the party, as I had previously heard of his being invited. In addition to our set at the Harwoods' ball, we had the Grants, St. Johns, Lady Rivers, her three daughters and a son, Mr. and Miss Heathcote, Mrs. Lefevre, two Mr. Watkins, Mr. J. Portal, Miss Deanes, two Miss Ledgers, and a tall clergyman who came with them, whose name Mary would never have guessed.

We were so terrible good as to take James in our carriage, though there were three of us before, but indeed he deserves encouragement for the very great improvement which has lately taken place in his dancing. Miss Heathcote is pretty, but not near so handsome as I expected. Mr. H. began with Elizabeth, and afterwards danced with her again; but they do not know how to be particular. I flatter myself, however, that they will profit by the three successive lessons which I have given them.

You scold me so much in the nice long letter which I have this moment received from you, that 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. I can expose myself however, only once more, because he leaves the country soon after next Friday, on which day we are to have a dance at Ashe after all. He is a very gentlemanlike, good-looking, pleasant young man, I assure you. But as to our having ever met, except at the three last balls, I cannot say much; for he is so excessively laughed at about me at Ashe, that he is ashamed of coming to Steventon, and ran away when we called on Mrs. Lefroy a few days ago.

We left Warren at Dean Gate, in our way home last night, and he is now on his road to town. He left his love, &c., to you, and I will deliver it when we meet. Henry goes to Harden to-day in his way to his Master's degree. We shall feel the loss of these two most agreeable young men exceedingly, and shall have nothing to console us till the arrival of the Coopers on Tuesday. As they will stay here till the Monday following, perhaps Caroline will go to the Ashe ball with me, though I dare say she will not.

I danced twice with Warren last night, and once with Mr. Charles Watkins, and, to my inexpressible astonishment, I entirely escaped John Lyford. I was forced to fight hard for it, however. We had a very good supper, and the greenhouse was illuminated in a very elegant manner.

We had a visit yesterday morning from Mr. Benjamin Portal, whose eyes are as handsome as ever. Everybody is extremely anxious for your return, but as you cannot come home by the Ashe ball, I am glad that I have not fed them with false hopes. James danced with Alithea, and cut up the turkey last night with great perseverance. You say nothing of the silk stockings; I flatter myself, therefore, that Charles has not purchased any, as I cannot very well afford to pay for them; all my money is spent in buying white gloves and pink persian. I wish Charles had been at Manydown, because he would have given you some description of my friend, and I think you must be impatient to hear something about him.

Henry is still hankering after the Regulars, and as his project of purchasing the adjutancy of the Oxfordshire is now over, he has got a scheme in his head about getting a lieutenancy and adjutancy in the 86th, a new-raised regiment, which he fancies will be ordered to the Cape of Good Hope. I heartily hope that he will, as usual, be disappointed in this scheme. We have trimmed up and given away all the old paper hats of Mamma's manufacture; I hope you will not regret the loss of yours.

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.

Sunday. -- By not returning till the 19th, you will exactly contrive to miss seeing the Coopers, which I suppose it is your wish to do. We have heard nothing from Charles for some time. One would suppose they must have sailed by this time, as the wind is so favourable. What a funny name Tom has got for his vessel! But he has no taste in names, as we well know, and I dare say he christened it himself. I am sorry for the Beaches' loss of their little girl, especially as it is the one so much like me.

I condole with Miss M. on her losses and with Eliza on her gains, and am ever yours,

J. A.

Tom Lefroy

"Tell Mary that I make over Mr. Heartley and all his estate to her for her sole use and benefit in future, and not only him, but all my other admirers into the bargain wherever she can find them, even the kiss which C. Powlett wanted to give me, as I mean to confine myself in future to Mr. Tom Lefroy, for whom I do not care sixpence. Assure her also, as a last and indisputable proof of Warren's indifference to me, that he actually drew that gentleman's picture for me, and delivered it to me without a sigh.

Jane Austen to Cassandra

January 14, 1796

Thomas Langlois Lefroy (1776-1869 ) was an Irish Politician and judge, who eventually rose to the position of Chief Justice of Ireland. He was one of 10 children born to Colonel Anthony Lefroy of Limerick and Anne Gardiner. As the eldest son, the family depended on him to “rise into distinction and there haul up the rest.”
This rise in distinction, from being the son of a soldier, to the chief Justice of Ireland was facilitated by Tom’s uncle, Benjamin Lefroy. Uncle Benjamin, in reality, great-uncle to young Thomas and his brothers and sisters, had made his money in the banking industry in Italy, before returning to London to take on life as a politician. He was greatly concerned with the welfare of his family and provided generously for his relative’s education, praising his “good heart, a good mind, good sense, and as little to correct in him as ever I saw in one of his age”.
Tom graduated with top honors from Trinity College in Dublin in 1775 and soon began studying law in London. At some point, however, it was decided that he should take a break. Family history maintains that long nights poring over books had weakened his constitution and his eyesight. It was clear that he needed a rest. With a new term beginning in January, 1776, Tom took several weeks off in December of 1775 to visit his Uncle and Aunt, Rev. George and Anne Lefroy in Ashe, nearly 60 miles away.
It was there that this young law student made his mark on history, for nearby to Ashe, at Steventon, lived the Austen family. Their younger daughter, Jane, was a great favorite of Tom’s Aunt Anne, though close to 30 years separated them in age. Anne Brydges Lefroy was, by all accounts a handsome woman who held great powers of persuasion over her children and friends, and in return was respected and loved by many. She was in many ways Lady Russell to young Jane Austen’s Anne Elliot.
Although it is clear that many letters are missing, the account of this meeting that we do have is due to the fact that Jane Austen’s dearest friend and older sister, Cassandra, was at the time of Tom’s visit, visiting her own fiancé, Thomas Fowle. She was absent for the whole of Lefroy’s visit to Ashe and in fact never met this man who might have been her brother-in-law. Only two letters survive from this period of Jane Austen’s life, but they are invaluable to the scholar seeking information about this only known love interest who obviously shaped Jane’s outlook on love and life.
Many have argued that the tone of these letters does not sound like a woman deeply in love. It is important to consider, however, that Jane, but 20 years old at the time, no doubt expected them to be read to or at least shared with the Fowle family, with whom Cassandra was staying. She perhaps wished to express less than she felt in order to avoid embarrassment with her friends. It is also known that after Jane’s death, Cassandra ruthlessly purged her letters, lest any that might seem too personal fall into the wrong hands. We will never know what the missing letters were that Jane wrote to her sister.
It is not unlikely for two attractive young people to fall in together and enjoy each other’s company. A few years earlier, Jane’s cousin, the worldly wise Eliza de Fuillide, had described Cassandra and Jane as “perfect beauties [who] of course gain hearts by the dozen.” A portrait* drawn of Tom Lefroy in 1796 shows a serious young man with the light hair typical of the family. His prominent nose and deep blue eyes certainly present an overall picture of a “very gentleman like, good-looking, pleasant young man."
To be fond of dancing [is] a certain step towards falling in love-Pride and Prejudice .
Tom and Jane first met in mid December. As it was the Christmas season, balls were held frequently and Jane and this young student from Ireland met often and danced often. Jane even teased her sister about how often they stood up together and how they taught other couples a lesson on “being particular”. The two found much in common, sharing opinions and books. Their relationship was a close one, as evidenced by the fact that he lent her Tom Jones, an amazingly racy novel, not likely to be found on the shelves of her clergyman father’s library. Others, too, thought them a couple, as evidenced by one acquaintance sketching a picture of Tom for Jane to keep.
Visits were exchanged at each other’s homes and this whirlwind relationship ended after four weeks with Jane rather expecting to receive an offer of marriage from Tom. Was such an offer made? One tends to think not. Though she steadfastly refuses to accept him in her letter (unless he gets rid of his white coat) her later sentence in the same letter betrays her cavalier attitude, “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.”
Tom returned to his uncle’s house in London and to his studies. Many readers persist in thinking that Anne Lefroy sent him away in order to avoid an imprudent match on Tom’s part. Certainly, it would have been in his best interest to marry well. Anna Austen Lefroy, Anne Lefroy’s daughter in law and Jane Austen’s niece, refutes this theory. Though alone among her relatives, she wrote, in 1869,
I am the only person who has any faith in the tradition…but when I came to hear again & again, from those who were old enough to remember, how the Mother had disliked Tom Lefroy because he had behaved so ill to Jane Austen, with sometimes the additional weight of the Father’s condemnation, what could I think then? Or what now except to give a verdict . . . [of] ‘under mitigating circumstances’—As—First, the youth of the Parties—secondly, that Mrs. Lefroy, charming woman as she was, warm in her feelings, was also partial in her judgments—Thirdly—that for other causes, too long to enter upon, she not improbably set out with a prejudice against the Gentleman, & would have distrusted had there been no Jane Austen in the case. The one thing certain is, that to the last year of his life she was remembered as the object of his youthful admiration—
Perhaps the blame was Tom’s. Before he had even left the countryside, rumors of an engagement to another were being spread. It is true that by the next spring, in 1797, he was engaged to Mary Paul, the sister of a college mate. Was this alliance in place before he ever met Jane Austen? Did Jane work this angle into Sense and Sensibility when she rewrote it years later, allowing Edward Ferrars to be trapped by a youthful engagement while falling in love with Elinor Dashwood?
Romantics may find it difficult to forgive the man who loved and left our favorite author, breaking her heart, perhaps forever—and yet, we must be grateful to him, as well. It is obvious that Jane knew love and could write with authority about love. Though she never admits it in the letters we have, it seems clear that she did love Tom Lefroy, and when asked about Jane, at the age of 94, Tom, too, admitted to loving Jane, though he qualified it by calling it a “boyish love”.
If she had married, it is doubtful that Jane would have had time or encouragement to write and without this period of awakening, without this loss, we may never have seen Jane Austen’s novels in print. It is possible to see aspects of Tom Lefroy and his relationship with Jane in every hero she created, and in working out the lives of her heroines, is it not surprising that she gave each of them the happy ending she longed for?
We cannot know if that night in Ashe was the last Jane ever saw of Tom. The very next letter that she wrote to Cassandra (August, 1796) is dated from Cork Street, London, where Tom lived with his uncle Benjamin. "For the Austens to have stayed there by chance at this particular time, in the very street where Tom Lefroy was living, would have been a strange coincidence”, suggests Jon Spence in his new book, Becoming Jane. History shows that there were no boarding houses or hotels in Cork Street during that time. "There is no direct proof that they stayed with Langlois and his nephew, but it looks as though they did."
Others suggest that Jane at least caught a glimpse of Tom later on that year in Bath.** He did visit his aunt in Ashe in 1797, but departed the country without visiting the Austens. This was clearly a difficult time for Jane, who wrote of this visit to her sister in November, 1798,
“Mrs. Lefroy did come last Wednesday…with whom, in spite of interruptions both from my father and James, I was enough alone to hear all that was interesting, which you will easily credit when I tell you that of her nephew she said nothing at all, and of her friend very little. She did not once mention the name of the former to me, and I was too proud to make any inquiries; but on my father's afterwards asking where he was, I learnt that he was gone back to London in his way to Ireland, where he is called to the Bar and means to practise.”
Thomas Lefroy been called to the Irish Bar in 1797, did Jane but know it, and there he became a prominent member, publishing a series of Law Reports on the cases of the Irish Court of Chancery. He married Mary Paul in 1799 and they had seven children. The eldest son Anthony Lefroy was also an MP for his father's old seat of Dublin University. A daughter named Jane is often thought to have been named for Jane Austen, though a more likely candidate is his mother-in-law, Jane Paul.
Thomas was elected to the House of Commons for the Dublin University seat in 1830, as a Tory (the party later becoming known as Conservative). He became a member of the Privy Council of Ireland on 29 January 1835. He continued to represent the University until he was appointed an Irish judge (with the title of a Baron of the Exchequer) in 1841.
He was promoted to Chief Justice of the Court of Queen's Bench in Ireland in 1852. Despite some allegations in Parliament, that he was too old to do the job, Lefroy did not resign as Chief Justice until 1866 when, at the age of 90, a Conservative government was in office to fill the vacancy. He died in 1869.
The exhibition at the Jane Austen Centre in Bath has been created with the guidance of local members of the Jane Austen Society and authorities on Jane Austen. It aims to be not only informative but exciting and illuminating. With knowledgeable staff, a lovely period atmosphere, exclusive film, costume, contemporary exhibits, maps and books. It is the perfect starting point to an exploration of Jane Austen's Bath.

The Centre at 40 Gay Street in Bath houses a permanent exhibition which tells the story of Jane's experience in the city between 1801 and 1806 and the effect that living here had on her and her writing.
Gay Street is the ideal location for the Jane Austen Centre in Bath, set between two of Bath's architectural masterpieces, Queen Square and the Circus.
Jane Austen actually lived in Gay Street (higher up the hill on the same side, at No.25) for some months in 1805.

maandag 12 april 2010

Pride and Prejudice



Jane Austen wrote and revised Pride and Prejudice over a period of sixteen or seventeen years. Known as First Impressions, she began working on the manuscript at Steventon in 1796 but her father's attempt to have the book published in 1797 was unsuccessful. It was only when she was happily settled at Chawton that she revised the book and following the success of Sense and Sensibility, offered it to the publisher Thomas Egerton. Pride and Prejudice was published on 28th January 1813. Jane wrote to Cassandra the next day.

I want to tell you that I have got my own darling Child from London; - on Wednesday I received one copy.... I must confess that I think her (Elizabeth Bennet) as delightful a creature as ever appeared in print, and how I shall tolerate those who do not like her at least, I do not know.



Jane Austen received some favourable notices in journals but particularly delighted in collecting comments from friends and family. She was pleased to have Cassandra's approval.

Pride & Prejudice (2005) - Dario Marianelli - Dawn

maandag 5 april 2010

Jane and theater

From an early age, Jane, was introduced to plays and acting. Her brother James thought himself a budding playwright.
Claire Tomlin in her autobiography of Jane ,"Jane Austen, A Life," explains how she became an early critic.
"At Christmas 1782,when Jane was seven, there was something new for her to listen to. Her brothers put on a play.It was a tragedy called Matilda, and perhaps responsible for Jane's smart dismissal of a play a few years later, ' it is a tragedy and therefore not worth reading.' "
Two years later, in July 1784,
" there was another production in the Steventon barn, this time a comedy, Sheridan's The Rivals, first produced at Drury lane in the year of Jane's birth...."

There is no evidence that Jane took part in these productions at Steventon. She was too young to take an adult part. There were female parts in Sheridans the Rivals but these could have been taken by her brothers dressed as women or other, older girls, known to the family. James wrote a prologue for this play where he appears to address the younger members of the audience.
"Though yet too young your stronger powers to own,we fondly wait your smile, and dread your frown."

In later life, when Jane visited her brother Henry at Sloane Street and Henrietta Street, she often visited the London theatres to see some the most reknowned actors and actresses of her day.
Henry owned a seat at The Pantheon Opera House in Oxford Street. There is a Marks and Spencers on the site nowadays and still called, The Pantheon.
Writing to Cassandra from Henrietta Street on Tuesday 8th March 1814,
"We are to see,'The Devil to Pay.' to night. I expect to be very much amused.-Excepting Miss Stephens, I dare say Artaxes will be very tiresome."

(They went to see, Artaxes, the following night after seeing,"The Devil To Pay.")
An actress, who called herself Mrs Jordan, was acting in that production. She was a famous actress and was said to have had the most beautiful legs.She took the name Mrs Jordan, although she never married, because she thought it more respectable to have a married womans name. She carried on a few affairs and had several illegitemate children. She was pretty, witty and intelligent and came to the attention of many wealthy and powerful men. However, her most famous affair was with William, the Duke of Clarence, who later became William IV in 1791. She lived with him in Bushy House, which is situated in Bushy Park next to Hampton Court Palace. The house is still there to this day. She had at least ten illegitemate children with William. The children all took the surname, FitzClarence.Even when living with William she still carried on her acting career.
Jane also saw the great Edmund Keen on many occasions.

Writing to Cassandra on Thursday 3rd March 1814 from Henrietta Street :
"Places are secured at Drury Lane for Saturday, but so great is the rage for seeing Keen that only 3d and 4d row could be got. As it is in a front box however, I hope I shall do pretty well.-Shylock.- A good play for Fanny.She cannot be much affected I think."

Edmund Keen, created great emotions amongst his audiences and his peers. Some of his peers hated him and thought he was odious, but all acclaimed his amazing talent as an actor. Audiences were, "feverish," for him. In 1814, the year Jane saw Keen play Shylock, the Drury Lane Theatre had hired him to help revive their flagging fortunes.His opening on the 26th January 1814 roused the audience to almost uncontrollable enthusaism. He lived in Richmond Surrey next to Richmond Theatre on the Green and died there on the 15th May 1833. He is buried in Richmond Parish Church.There is a flagstone in the floor of the church commemorating him.

Jane obviously loved the theatre and good acting. How much does a writer dramatise events in their own minds before writing them down?
In reading Jane's letters describing her enthusaism for going to the theatre, there is no hint of what Peter Ackroyd describes in his ,"London, the Autobigraphy."

" When in the mid eighteenth century David Garrick proposed to abolish, 'half price,' seats, for those who entered after the third of five acts. The day appointed for that innovation found the Drury Lane Playhouse filled with a silent crowd. P.J. Crosley composed A Tour of London in 1772, and set the scene. As soon as the play commenced there was a general outcry with,'fisty cuffs and cudgels,' which led to further violence when the audience tore up the benches of the pit and the galleries and demolished the boxes....."

Such behaviour in the capital's theatres continued well into the nineteenth century."
While living in Southampton Jane is rather scathing of the little theatre built there in 1766, the first ever built in Southampton.
To Cassandra from Castle Square, Sunday 20th November 1808.
"Martha aught to see the inside of the Theatre once while she lives in Southampton,& I think she will hardly wish to take a second view


The small theatre in Southampton, a short walk from Castle Square where Jane lived.

Bridal Fashions


How common the white wedding dress was during the Regency is hard to say, but we have some reasons to suspect that it was more prevalent than many may think. Although no bridal fashion prints survive from before 1813, paintings of wedding scenes, such as Highmore's 1743 illustration for Samuel Richardson's Pamela, do depict brides in white. Veils seems to have become popular somewhat later in the century so most brides either wore flowers in their hair, a cap or sometimes a hat.

When Jane Austen's niece Anna married Benjamin Lefroy in 1814, she wore "a dress of fine white muslin, and over it a soft silk shawl, white shot with primrose, with embossed white-satin flowers, and very handsome fringe, and on her head a small cap to match, trimmed with lace."*

Although bouquets and flowers with personal meanings came into vogue during the Victorian era, flowers and herbs have been used in weddings since the beginning of time as a way of showing love and well wishes to everyone. The first recorded use of wedding flowers dates back to the ancient Greeks. Flowers and plants were used to make a crown for the bride to wear and were considered a gift of nature. Bridesmaids would make the floral decorations including garlands, bridal bouquet and boutonniere.+

Wedding Announcements
The newspaper announcement was, perhaps, the most socially important part of the wedding. Jane Austen, herself, once wrote, "The latter writes me word that Miss Blackford is married, but I have never seen it in the papers, and one may as well be single if the wedding is not to be in print."

"I suppose you have heard of it; indeed, you must have seen it in the papers. It was in the Times and the Courier, I know; though it was not put in as it ought to be. It was only said, 'Lately, George Wickham Esq., to Miss Lydia Bennet,' without there being a syllable said of her father, or the place where she lived, or anything. It was my brother Gardiner's drawing up too, and I wonder how he came to make such an awkward business of it. Did you see it?"

http://hibiscus-sinensis.com/regency/weddingdress.htm

Society during the Regency

The period of the Regency, 1811-1820, valued elegance and cultivation above all else, having thrown off the rougher and readier social manners of the preceding century. By the time Austen was writing, the West Country town of Bath, where her family had earlier lived for four years, had become the most important centre of social life outside London.

Dancing the night away . Dances were somewhere for the young and single to find a future partner.
The focal point of high society was dancing. As well as providing occasions to be seen, dances were also events at which the young and single might hope to meet a future partner. Buildings like the magnificent Assembly Rooms at Bath – which endured from the 1770s until its destruction by wartime bombing in 1942 – were designed purely for the purpose of public dancing. At the great country houses, a high level of formality was the norm, with professional musicians and lavish catering, but even a simple at-home might end with dancing as the favoured form of after-dinner entertainment.
By the 1810s, English country dancing in line formation had replaced the highly stylised forms of European dancing, such as gavottes and minuets. The new dances were the livelier cotillion and quadrille, and – most daringly – the waltz. The waltz was seen as rather risqué, because it involved intimate close contact with one partner, as opposed to the group formation of the quadrilles.

Passing the time
We can’t help noticing that Jane Austen’s characters don’t actually do very much, reflecting the life of cultivated leisure that even the reasonably well-off were able to afford. Reading, writing letters, sauntering about the garden, playing cards or chess and, of course, dancing were the most obvious means of filling up the day. Conversation was considered an art, and turned on observations on the behaviour of others, and on romantic entanglements and possible matchmaking.
Bath, with its classical colonnades and neat squares, made the perfect backdrop to this regulated, well-ordered life of studied civility. In a sense, the whole social tone mirrored a certain Greek ideal of the cultured life, a style given impetus by the rediscovery of ancient Athenian style that accompanied Lord Elgin’s return with the Parthenon Marbles in 1806.

Taking the waters
The previously unremarkable Elizabethan town of Bath was rebuilt in the elegant Palladian style by the father-and-son architectural partnership of the Woods. In 1755, the original Roman baths had been rediscovered. They were restored, and Bath became a must-do stopover for anybody seeking to improve their health, as many did, by "taking the waters" at one of England’s spa towns.
In Regency Bath, taking the waters meant drinking them, rather than bathing in them, and many did, gathering in the generous space of the Pump Room to chat over several healing glasses of Avon’s finest. Austen’s Admiral Croft, in Persuasion (1818), has come to Bath in the hope of curing his persistent gout by taking the water.

Dressing the part
In the early years of the 19th century, women’s fashion suddenly took on an altogether simpler mode of understatement as a reaction to previous excesses. The crinolined dresses and extravagantly coiffed hair of the Rococo era gave way to a much less affected look (although false ringlets were often applied to shorter hair to enhance the face and show off earrings).
Shawls made of muslin, twill and cashmere were worn slung over light dresses to imitate the classical tradition of draped outer clothing. Tippets made of swans down or fur were the forerunners of the stole or scarf. A short tailless riding-jacket known as a spencer, and copied from male fashion, was widely popular.
Headgear consisted of simple caps worn during the day, and then more elaborate trimmed bonnets and turbans for glamorous evening wear. Very long gloves, reaching practically to the shoulder, were worn on formal evening occasions. Reticule (usually known as “ridicule”) handbags and purses catered to the lack of pocket space in the less voluminous dresses of the Regency. Accessories such as parasols and fans were decorative rather than functional. Footwear was usually delicate pumps for indoors and for short excursions over tiled walkways in the gardens, with short boots for sturdier outdoor wear.

zondag 4 april 2010

James Stanier Clarke

The entire affair of the dedication seems to have been a matter of chance. Here’s how the episode unfolded: According to her sister, Cassandra, Austen began writing Emma 21 January 1814 and completed it 29 March 1815. In August or September 1815 she turned the manuscript in to her publisher, John Murray of London. Revisions (apparently minor) were made in the ensuing months, and the novel was published in December. Prior to this date, in early October, Austen arrived in London to stay with her brother Henry at his residence in Hans Place. In mid-October he fell ill, and a doctor was consulted. Henry’s condition was serious enough to require a second opinion, and another physician, Dr. Baillie, who just happened to be the Prince Regent’s physician, was called in. During his visit at Hans Place, Dr. Baillie mentioned to Jane Austen that the Prince was a great admirer of her novels and that he had a set of them in each of his lodgings. The Prince’s librarian, James Stanier Clarke, would call upon her, he said. Shortly thereafter Clarke invited Jane Austen to the Prince’s august residence at Carlton House. She paid the visit on 13 November 1815, at which time Clarke told her that she was at liberty to dedicate her next novel to the Prince Regent. After much apparent hand-wringing and reluctance, Austen decided to dedicate Emma to the Prince Regent. Since the novel was already in press at this time, she wrote her publisher and added the perfectly proper dedication (Austen-Leigh 118). Henry recovered. There seems to have been no more to the episode than this.

Portrait of Jane Austen from James Stanier Clarke, the Librarian of the Prince Regent

Following is a substantial extract from an article written by PROF. JOAN RAY, PRESIDENT OF THE JANE AUSTEN SOCIETY OF NORTH AMERICA (JASNA) published in "Persuasions" No 27, The Jane Austen Journal. In this article, Professor Ray explains why she is now convinced the Clarke Portrait does indeed depict Jane Austen and should be recognised as such.

JAMES STANIER CLARKE'S PORTRAIT OF JANE AUSTEN
JOAN KLINGEL RAY AND RICHARD JAMES WHEELER

Joan Klingel Ray, Ph.D., has served as JASNA's President sicne 2000. She is Professor of English and President's Teaching Scholar at the University of Colorado, Colorado Springs, and has published on Dr.Johnson, Mrs.Piozzi, Dickens, Austen, and others. Richard James Wheeler, now an octogenarian, flew with the RAF in WWII, after which he completed his qualifications as a Chartered Accountant, practicing his profession in business until the late 1980's. A lifelong bibliophile, he encountered Clarke's Friendship Book.

While researching my 2005 AGM Plenary Session talk at the British Library, I stumbled upon Richard James Wheeler's book about James Stanier Clarke's portrait of Jane Austen. Waiting for my book delivery, I typed "Jane Austen" into the library's computer catalogue and after scrolling down 400+ titles, I encountered his book on the Clarke portrait. Throughout his life, Richard Wheeler indulged his main avocation: books. His love of books led him serendipitously to the bookstore where he found Clarke's Friendship Book!

Admirers of Jane Austen are familiar with Cassandra Austen's small pencil and water-color sketch of her sister's face and its Victorian copies (Record, plate VIII, and accompanying illustrations between 128 and 129). Literary and art historians deem the Cassandra portrait, in the possession of London's National Portrait Gallery since 1948, as the only known authentic likeness of Jane Austen's face taken when she was an adult. But another portrait of the adult Jane Austen, also a sketch in pencil and watercolors and also small (6 inches by 4 inches) exists: the work of the Rev.James Stanier Clarke, Domestic Chaplain and Librarian to the Prince of Wales (later, George IV).

Clarke is known to Austenites for escorting the author through Carlton House, the Prince Regent's London residence, on Monday, 13 November 1815, when she went to see the Prince's Library, and then engaging her in an epistolary exchange in which he urged her "to delineate in some future Work the Habits of Life and Character and enthusiasm of a Clergyman who should pass his time between the metropolis & the Country … Fond of, & entirely engaged in Literature no man's Enemy but his own" (16 November 1815). If he had also described himself as a fine sketch artist, he might have been regarded by Austen biographers with greater seriousness, rather than as the comical man who was loath to give up having Jane Austen feature him in a romantic novel.
 

Richard Wheeler's finding the Clarke portrait of Jane Austen is almost the stuff of a romantic novel or at least the stuff of a novel about a lover of antique books. In 1955, a second-hand book dealer in Canterbury, Kent, found at the estate sale of a proverbial "little old lady" a small slip case containing an album bound in eighteenth-century green morocco leather decorated with gild. The gilded words Sacred To Friendship (hereafter called Friendship Book) appeared on the upper part of the spine; on the lower were the gilded initials "J.S.C." (Wheeler 6). Richard Wheeler came upon this book in the estate sale visitor's secondhand bookstore.

Within the covers, he found the paper watermarked, authenticating it as eighteenth-century paper. And on those pages, he discovered more than one hundred drawings, verses, and autographs by such celebrities as poet William Cowper, painter George Romney, novelists Charlotte Smith and Anna Seward, and actors Richard Brinsley Sheridan and John Kemble. Crayon and water-color sketches of two unnamed women appear in the book. The Tate Gallery assisted Wheeler in identifying one subject as Princess Caroline Amelia Elizabeth of Brunswick: the likeness of the sketch to any number of portraits of the twenty-six year old German Princess is stunning. It also serves to show the artist's ability to capture in a quickly drawn sketch a true likeness of his royal subject. In March 1795, Clarke was a Royal Navy chaplain serving on board H.M.S. Jupiter, which was taking the Princess to England to be married to her cousin, the future George IV (Wheeler 20). Thus, Clarke would have certainly seen the royal passenger, particularly at the Services over which he presided as chaplain, enabling him to sketch a small portrait from memory. Unlike Emma Woodhouse, he did not need his subject to pose.

Richard Wheeler made the connection between the second woman depicted in Clarke's album with Jane Austen only after seeing a photo of Cassandra's sketch of her sister and its familiar Victorian round-eyed copy that Andrews made for the frontispiece of the Memoir and then reading in A Family Record what Mrs. Elizabeth "Lizzy" Austen Rice (Edward Austen Knight's daughter, born 1800) had written to her cousin, James Edward, after seeing the frontispiece picture of their Aunt Jane in his Memoir. "I remember her so well & loved her so much … how well the portrait has been lithographed! I think it very like only the eyes are too large, not for beauty but for likeness" (254). As Wheeler reports, when he observed "the similarities with the face of the lady in Clarke's Friendship Book," his attention was "jolted" (8).

The next step was to match the clothing worn by the figure with descriptions of clothes and accessories that Jane Austen mentions to her sister in her letters. The similarities are remarkable. For example, the picture shows the figure in a white gauze gown, mostly covered by a black cape, but the gown's décolleté neckline, dotted with black trim, is visible; its long sleeves are tucked into gloves that extend to the elbow. On 9 March 1814, Jane Austen wrote from London to Cassandra: "I wear my gauze gown today, long sleeves & all … I have no reason to suppose long sleeves are allowable. I have lowered the bosom especially at the corners, & plaited black stain ribbon around the top." It appears that Jane Austen, herself, was as concerned about long sleeves as Mrs.Bennet is in Pride and Prejudice (140)!

In her previous letter to Cassandra, she also speaks of trimming her gown: "I have determined to trim my lilac sarsenet [a fine smooth material] with black satin (sic) ribbon … Ribbon trimmings are all the fashion at Bath, & I dare say the fashions of the two places [i.e., Bath and London] are alike enough in that point, to content me" (8 March 1814).
If the lady in the picture looks dressed up, keep in mind that when Jane Austen visited Carlton House, she would have surely worn her best, dressiest clothes.
But the most convincing evidence that Clarke's portrait is, indeed, of Jane Austen, comes from two scientific sources. Richard Wheeler notes that the sketch possibly shows "a chilling augury" of her fatal illness, Addison's disease. Clara Lowry, M.D., an endocrinologist at St. Thomas's Hospital, London, who examined a photo of the Clarke portrait, observed:

"[T]here is an area of pigmentation below the lower lip in the centre of the face and there is an irregular area of pigmentation underneath the chin centrally as well. Her pigment can therefore be said to be very patchy … [T]he patient with Addison's disease will have a particularly striking pattern of areas with no pigmentation adjacent to areas of excessive pigmentation. I think it is just possible that this is what we are looking at in Jane Austen." (Letter, July 25, 1995).
At the JASNA Annual General Meeting in Wisconsin for 2005, two physicians, Cheryl Kinney, M.D. and Cynthia Lopez, M.D. confirmed Dr. Zachary Cope's 1964 diagnosis of Addison's disease, using not only the symptoms described in her letters, but also Regency and modern medical knowledge. In doing so, Dr. Lopez discounted Hodgkins Disease as the cause of Austen's death (Upfal).
Studies by physiognomist Alfred Linney of the Department of Medical Physics and Bioengineering, University College, London, observed that the Cassandra and Clarke portraits show women with similar hairstyles and face shapes. He further noted resemblances between the faces in the two pictures to Jane Austen's brothers and father of whom we have portraits especially the so-called Greek noses shared by the Rev. George Austen and the novelist's brothers James and Henry. Most convincingly, he determined that the two female faces share the same vertical facial measurements and proportions from eye to nose to mouth to chin (wheeler 36-37).

Dr. Linney's findings regarding vertical facial measurements were corroborated using an Electronic Facial Identification Test, practiced by many police departments: the horizontal pixel lines for the faces in the Cassandra and Clarke portraits were identical. The forensic scientist who carried out the tests concluded, albeit with scientific defensive rhetoric, that "there is a strong probability that they are one and the same persons" (Wheeler 39). Another authority, Richard Neave, a medical artist at the University of Manchester who has worked on the reconstruction of ancient Egyptian skulls for the British Museum, cautiously determined that "Cassandra's picture reflects many of the strong family likenesses … Clarke's drawing is much idealized. As far as the face is concerned, it can be said to be of a type … 'a pretty doll like face'" (Wheeler 41). Ironically, he unknowingly echoed the description provided by the Rev. Fulwar Fowle, who described Jane Austen's face as "pretty … like a doll" (Record 246).

Karen Joy Fowler begins her novel The Jane Austen Book Club saying, "Each of us has a private Austen" (1). Likewise, each of us has a mental image of the physical Jane. As far as the Austen world knows, she never sat for a formal portrait as an adult. But the authors of this article believe that the woman painted in James Stanier Clarke's Friendship Book is indeed, Jane Austen. Granted, London's National portrait Gallery is unwilling to authenticate the Clarke portrait as Jane Austen. We speculate, however, that the Gallery's acceptance of R.W. chapman's suggestion that no one but Jane Austen could be the subject of the silhouette labelled "L'aimable Jane" in a second volume of Mansfield Park is founded more on faith than on the scientific investigation on which Richard Wheeler bases his conclusions (214).

www.jasna.org//ray-clarke

Portrait of Jane Austen from James Stanier Clarke, the Librarian of the Prince Regent

 
This is the very important, recently recognised, 19th Century Portrait of Jane Austen, painted in 1815 and discovered in the exceptional "Liber Amicorum" (Friendship Book) belonging to the Rev. James Stanier (later King George IV of Great Britain and Ireland). Clarke was a competent, if amateur, watercolourist whom Jane Austen acknowledged as her friend in the last letter she wrote to him in 1816. Detailed and solid evidence of the Book and the Watercolour has been published in "James Stanier Clarke and his Watercolour Portrait of Jane Austen" by Richard James Wheeler and is available.
This portrait of Jane Austen makes Clarke's Friendship Book a literary treasure of inordinate rarity. The National Portrait Gallery in England incorrectly claims an absolute monopoly in Jane Austen portraiture by owning the only depiction of Jane Austen in the world which (they say) "can be authenticated": (ie by the Gallery themselves). Their picture is a very slight and unflattering drawing reputedly made by her sister Cassandra; but largely disseminated to the public at large by numerous illustrators in an "improved" version. It has been described as "a disappointing scratch" and is a desperately poor memorial of the novelist. Nevertheless physiognomists identify the sitter as the same person appearing in Clarke's watercolour.

The National Portrait Gallery's claim to a monopoly is incorrect. There are in fact just three portraits of the novelist (including Clarke's) which are known and claimed to be authentic.
The Friendship Book itself is a time-capsule from the Age of Sensibility, beautifully bound in its original tooled green morocco.

It contains, additionally, more than 100 contemporary paintings, drawings, holograph texts, verses (mostly signed and dated) and autographs by notable artists, authors, poets, sculptors and naval characters of the late 18th and early 19th centuries: (eg George Romney, John Russell, John Flaxman, William Hodges, William Hayley, Anna Seward, Charlotte Smith, Nicholas Pocock, Nelson's Captain Thomas Masterman Hardy).

Mansfield Park

Mansfield Park has the dubious distinction of being disliked by more of Jane Austen's fans than any of her other novels, even to the point of spawning "Fanny Wars" in internet discussion forums. Its themes are very different from those of her other books, which can generally be simplified into one sentence, or even one phrase: Sense and Sensibility is about balancing emotions and thought, Pride and Prejudice is about judging others too quickly, Emma is about growing into adulthood, and Persuasion is about second chances. The theme of Mansfield Park, on the other hand, can not be so easily described. Is it about ordination? Is it an allegory on Regency England? Is it about slavery? Is it about the education of children? Is it about the difference between appearances and reality? Is it about the results of breaking with society's morés? Any, or all of those themes can, and have been applied to Mansfield Park.

The major problem for most of the novel's detractors is the lead character, Fanny Price. She is shy, timid, lacking in self-confidence, physically weak, and seemingly—to some, annoyingly—always right. Austen's own mother called her "insipid", and many have used the word "priggish". She is certainly not like the lively and witty Elizabeth Bennet of Pride and Prejudice. But Mansfield Park also has many supporters, whose admiration and loyalty can be attributed to the depth and complexity of the themes in the book and to the main character—a young woman who is unlike most heroines found in literature.

One thing is certain, this novel is not like Jane Austen's others. The girl-gets-boy plot of her other work is mostly absent here, and the heroine's success in finding love is treated briefly, quickly, and for many readers—especially those who expected something like the romantic Pride and Prejudice—unsatisfactorily. Only in the final chapter—essentially the epilogue—does Fanny get the love she deserves. The story and themes of Mansfield Park are, therefore, not as closely tied with the heroine's road to marital bliss as in Austen's other novels.

Jane Austen began planning Mansfield Park in February of 1811 and finished it in the summer of 1813. It was published on May 4, 1814 and was Austen's third published novel; though, as with all of her novels, her name was not attached to it until after her death.
This was also the first of her novels which was not a revision of an earlier work. Elinor and Marianne was probably written in 1795 and finally revised and published as Sense and Sensibility in late 1811. First Impressions was written between 1796-97, and was finally published in 1813 as Pride and Prejudice. Mansfield Park, therefore, was conceived from its very beginning by a more mature Jane Austen than the previous two novels—written, as they were, first by the young Austen (~ 20 years old) and then the older Austen (~ 36). By the time Jane Austen began planning and writing Mansfield Park she had passed through her eligible years and, at 36, into confirmed spinsterhood.

Steventon, Deane Gate Inn

 
Steventon, the village of Jane Austen's birth, lies in a quiet spot between two main thoroughfares to Basingstoke. On the Winchester road to the south near Dummer, which was known as Popham Lane, is the Wheatsheaf Inn (see separate entry). Like Elizabeth Bennett in Pride and Prejudice, Jane was a keen walker and often walked here to collect the family's letters.

On the Andover road to the north is Deane and the Deane Gate Inn. Despite the fact that stage coaches to and from London halted here twice a day, we know that Jane's brother Charles was once unlucky enough to find the coach full and had to return home to Steventon.

Although Jane was a frequent traveller by stage there is no record of her catching a coach at Deane Gate but it seems more than probable. She often journeyed to visit her relations in Kent and she is known to have gone shopping in Andover, Alton, Alresford, Basingstoke and Whitchurch.

There are also frequent allusions in her letters to the county balls at Basingstoke which took place once a month on a Thursday during the season. They were held in the Assembly Rooms (probably part of the old Angel Inn which stood in the market place). The present day Basingstoke branch of Barclays Bank stands were the Assembly Rooms used to be and a plaque on the wall of the bank commemorates Jane Austen's association. The balls were frequented by all the well-to-do families of the out-lying neighbourhood; many of them, like the Austen's, coming from long distances, undeterred by the dangers of dark winter nights, lampless lanes, and stormy weather.
Today the Deane Gate Inn is an unpretentious friendly family pub. There are a number of Victorian photographs showing the surrounding area (and the inn) little changed since Jane Austen's day.

Steventon house



It was built as a rectory for the parish church in 1820 by Jane Austen’s brother Edward to replace her birthplace, Steventon Rectory, which was not considered well situated, required extensive repairs, and was not quite swank enough for his son William Knight who was taking over the parish duties from his cousin Henry Austen, Jane’s brother. Sadly, Jane Austen’s birthplace was demolished and all that remains today is the water pump.

Places where Jane stayed


The Vyne, near Basingstoke. We know that Jane Austen came to dances here.




Southampton.
We know that Jane attended dances in the ballroom of the Dolphin Hotel. It has the largest unsupported bay windows in the country.

 
Ashe Village.
A few miles north of Steventon is the village of Ashe, where Jane's father was also the rector and Jane visited her friends the Lefroy's at Ashe House.


This is an old coaching inn south of Steventon, where horses were changed on the way to and from London. Stage coaches carried the mail, and Jane Austen walked to here to send and receive her letters. The reciepent paid for the mail, as this was before the invention of postage stamps.

                                           
                                                       Dancing in the Assembly Room

patchwork

 
There is mention of the ‘patchwork’ in a letter from Jane to Cassandra dated 1811,

“Have you remembered to collect pieces for the patchwork… we are at a standstill”. The coverlet has been attributed to Jane Austen, her Sister Cassandra and their Mother.

For many years the coverlet was displayed hanging over a rod in Jane Austen’s former bedroom,but recently the quilt received some conservation work and was cleaned. It is now currently displayed on a bed behind glass.
The Austen coverlet is a medallion style quilt, popular in this era. While many medallion quilts still exist to be viewed today, none are in the piecing style of the Austen coverlet.

The Austen’s hand pieced their coverlet in the English style. Tacking fabric pieces over paper and using tiny oversewing stitches to join the pieces together.

A quilt is a fabric ’sandwich’ of backing, lining and the top. Then, stitching (the quilting) is done through all three layers to hold the ’sandwich’ together.

The Austen Quilt has no lining and was simply stab stitched at regular intervals to stop it ballooning. It is not quilted and is therefore called a coverlet, although quite often referred to as Jane Austens Quilt.

The Austen Coverlet is a masterpiece in color value and placement. The Austen Ladies, paid extreme attention to detail., both in their fabric choices, and their placement. The fabrics are sewn mirror image , that is the left side of the coverlet is an exact mirror image of the right, even the tiny diamonds which make up the outer border area. This last point in particular fascinates and is an example of that attention to detail that I mentioned earlier.
It is clear to see, when looking at the original, that the rows of fabrics making up the bulk of the body of the quilt (the middle sized diamonds) are in alternating rows of light and medium toning.

The medium toned fabrics also contain predominately medium size prints, on different color backgrounds, whereas the lighter rows contain smaller print fabrics and are predominately cream and beige in color.

The outer border area of the Coverlet is made of approx 2400 tiny diamonds. These fabrics are predominately dark in toning, though not all.

The sashing of the coverlet is a dotted cream fabric; it is believed the dots may have originally been pink. But today, seems blue/black in appearance.

The central diamond of the coverlet is a chintz piece, with an image of flowers in a basket, topped by two dear little birds. Chintz (chintz is a glazed cotton) was quite often used in this era as a centerpiece/medallion in quilts. One should also note here, that in the era this coverlet was made, white, as we know it, did not exist. The white of this era was ivory to cream.

Green of this era, was commonly a yellow dye laid over blue, and the yellow quite often didn’t take, and faded over time.

Pride and Prejudice

Jane Austen herself mentions Easter, most notably in Pride and Prejudice:

In this quiet way, the first fortnight of her visit soon passed away. Easter was approaching, and the week preceding it was to bring an addition to the family at Rosings, which in so small a circle must be important. Elizabeth had heard, soon after her arrival, that Mr. Darcy was expected there in the course of a few weeks, and though there were not many of her acquaintance whom she did not prefer, his coming would furnish one comparatively new to look at in their Rosings parties, and she might be amused in seeing how hopeless Miss Bingley’s designs on him were, by his behaviour to his cousin, for whom he was evidently destined by Lady Catherine; who talked of his coming with the greatest satisfaction, spoke of him in terms of the highest admiration, and seemed almost angry to find that he had already been frequently seen by Miss Lucas and herself.
Colonel Fitzwilliam’s manners were very much admired at the parsonage, and the ladies all felt that he must add considerably to the pleasure of their engagements at Rosings. It was some days, however, before they received any invitation thither, for while there were visitors in the house they could not be necessary; and it was not till Easter-day, almost a week after the gentlemen’s arrival, that they were honoured by such an attention, and then they were merely asked on leaving church to come there in the evening. For the last week they had seen ver little of either Lady Catherine or her daughter. Colonel Fitzwilliam had called at the parsonage more than once during the time, but Mr. Darcy they had only seen at church.
The invitation was accepted of course, and at a proper hour they joined the party in Lady Catherine’s drawing room. Her ladyship received them civilly, but it was plain that their company was by no means so acceptable as when she could get nobody else; and she was, in fact, almost engrossed by her nephews, speaking to them, especially to Darcy, much more than to any other person in the room.

zaterdag 3 april 2010

Easter

There is not a lot of information about how the Austen’s celebrated the season. What little we do know is drawn from Jane’s letters and what was typical for the period. While it is assured that Jane Austen celebrated Easter, her holiday was probably a quiet one. She would have observed Lent and broken the “Fast” on Easter with a special dinner with her family. She may have dyed eggs and probably ate them in abundance once Lent was concluded. Mrs Austen is known to have had chickens at Chawton Cottage and it is unlikely that they would have allowed the eggs to spoil. Likewise, Austen mentions Lambs at Steventon, as well as Hams that her mother cured so either might have been eaten at Easter dinner. In her letters, she mentions using the Easter Holidays as a time to travel, and visiting friends along the way to one of her brothers’ houses. As a religious holiday celebrated by a religious family in the early 1800’s, it is unlikely that she ever associated the holiday with rabbits or candy.

JANE AUSTEN/ WEBSITES

Jane Austen

Jane Austen

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