Jane Austen, Her Life and Letters - Richard Arthur Austen-Leigh (novels for beginners .TXT) 📗

aloofness which belonged to her family, and which was hardly to be avoided by so clever a person as herself. This critical spirit was evidently a quality of which she endeavoured to rid herself as of a fault; and one of her nieces, who was too young to know her aunt intimately, until almost the end of her life, was able then to say: 'She was in fact one of the last people in society to be afraid of. I do not suppose she ever in her life said a sharp thing. She was naturally shy and not given to talk much in company, and people fancied, knowing that she was clever, that she was on the watch for good material for books from their conversation. Her intimate friends knew how groundless was the apprehension and that it wronged her.' She was not only shy: she was also at times very grave. Her niece Anna is inclined to think that Cassandra was the more equably cheerful of the two sisters. There was, undoubtedly, a quiet intensity of nature in Jane for which some critics have not given her credit. Yet at other times she and this same niece could joke so heartily over their needlework and talk such nonsense together that Cassandra would beg them to stop out of mercy to her, and not keep her in such fits of laughing. Sometimes the laughter would be provoked by the composition of extempore verses, such as those given in the Memoir[211] celebrating the charm of the 'lovely Anna'; sometimes the niece would skim over new novels at the Alton Library, and reproduce them with wilful exaggeration. On one occasion she threw down a novel on the counter with contempt, saying she knew it must be rubbish from its name. The name was Sense and Sensibility—the secret of which had been strictly kept, even from her.

The niece who shared these hearty laughs with her aunts—James's eldest daughter, Anna—differed widely from her cousin, Edward's daughter, Fanny. She was more brilliant both in looks and in intelligence, but also more mercurial and excitable. Both occupied a good deal of Jane's thoughts and affections; but Anna must have been the one who caused her the most amusement and also the most anxiety. The interest in her was heightened when she became engaged to the son of Jane's old friend, Mrs. Lefroy. Anna's giddiness was merely that of youth; she settled down into a steady married life as the careful mother of a large family. She cherished an ardent affection for her Aunt Jane, who evidently exercised a great influence on her character.

Jane Austen's literary work was done mainly in the general sitting-room: liable at any moment to be interrupted by servants, children, or visitors—to none of whom had been entrusted the secret of her authorship. Her small sheets of paper could easily be put away or covered with blotting-paper, whenever the creaking swing-door (which she valued for that reason) gave notice that anyone was coming.

Her needlework was nearly always a garment for the poor; though she had also by her some satin stitch ready to take up in case of the appearance of company. The nature of the work will help to contradict an extraordinary misconception—namely, that she was indifferent to the needs and claims of the poor: an idea probably based on the fact that she never used them as 'copy.' Nothing could be further from the truth. She was of course quite ignorant of the conditions of life in the great towns, and she had but little money to give, but work, teaching, and sympathy were freely bestowed on rustic neighbours. A very good criterion of her attitude towards her own characters is often furnished by their relations with the poor around them. Instances of this may be found in Darcy's care of his tenants and servants, in Anne Elliot's farewell visits to nearly all the inhabitants of Kellynch, and in Emma's benevolence and good sense when assisting her poorer neighbours.

So began the Austens' life at Chawton—probably a quieter life than any they had yet led; their nearest neighbours being the Middletons (who rented the 'Great House' for five years and were still its inmates), the Benns at Faringdon, the Harry Digweeds, Mr. Papillon the Rector (a bachelor living with his sister), and the Clements and Prowting families.

The ladies took possession of their cottage on July 7, and the first news that we have of them is in a letter from Mrs. Knight, dated October 26, 1809: 'I heard of the Chawton party looking very comfortable at breakfast from a gentleman who was travelling by their door in a post-chaise about ten days ago.'

After this the curtain falls again, and we have no letters and no information for a year and a half from this time. We are sure, however, that Jane settled down to her writing very soon, for by April 1811 Sense and Sensibility was in the printers' hands, and Pride and Prejudice far advanced.

Since her fit of youthful enthusiasm, when she had composed three stories in little more than three years, she had had much experience of life to sober and strengthen her. Three changes of residence, the loss of her father, the friendship of Mrs. Lefroy and the shock of her death,[212] her own and her sister's sad love stories, the crisis in the Leigh Perrot history, and her literary disappointments—all these must have made her take up her two old works with a chastened spirit, and a more mature judgment. We cannot doubt that extensive alterations were made: in fact, we know that this was the case with Pride and Prejudice. We feel equally certain that, of the two works, Sense and Sensibility was essentially the earlier, both in conception and in composition, and that no one could have sat down to write that work who had already written Pride and Prejudice.[213] There is, indeed, no lack of humour in the earlier work—the names of Mrs. Jennings, John Dashwood, and the Palmers are enough to assure us of this; but the humorous parts are not nearly so essential to the story as they become in her later novels: the plot is desultory, and the principal characters lack interest. We feel, in the presence of the virtue and sense of Elinor, a rebuke which never affects us in the same way with Jane Bennet, Fanny Price, or Anne Elliot; while Marianne is often exasperating. Edward Ferrars is rather stiff; and Colonel Brandon is so far removed from us that we never even learn his Christian name.

Mr. Helm[214] makes some acute remarks on the freedom which Elinor shows in talking of embarrassing subjects with Willoughby, and on her readiness to attribute his fall to the world rather than to himself. We are to imagine, however, that Elinor had been attracted by him before, and felt his personal charm again while she was under its spell: all the more, because she was herself in a special state of excitement, from the rapid changes in Marianne's condition, and the expectation of seeing her mother. Her excuses for Willoughby were so far from representing any opinion of the author's, that they did not even represent her own after a few hours of reflection. It is one of the many instances which we have of Jane Austen's subtle dramatic instinct.

On the whole, there is great merit in the book, and much amusement to be got from it; but it seems natural to look upon it as an experiment on the part of the author, before she put forth her full powers in Pride and Prejudice. We are glad, by the way, to hear from Jane herself that Miss Steele never caught the Doctor after all.

We must now accompany the author to London, whither she went in April 1811 to stay with her brother Henry and his wife (who had moved from Brompton to 64 Sloane Street), having been preceded by her novel, then in the hands of the printers.

Cassandra had in the meanwhile gone to Godmersham.