The Jane Austen Fest in Mt. Dora, Florida is coming up next month, on February 11-13, 2022. The action begins Friday, February 11, in the afternoon and goes on into Sunday afternoon. Speakers, workshops, a fashion show and, of course, tea! I have the honor of speaking on Saturday morning, February 12, at 9:00 am, and will be presenting “What’s Love Got To Do With It? Jane Austen and the Unmarried State.” There will be several speakers, including Elizabeth Paquette, who will be speaking at 3:00 pm on Saturday, on “Medicine in Jane’s Era: Doctors, Illnesses and ‘Cures'”. It promises to be a fun and informative weekend in a delightful town. For more information, visit the website here: https://janeaustenfest.com/events/schedule
Category Archives: Jane Austen
A discussion on Facebook regarding cover illustrations caught my attention. The subject was clothing style depicted in cover art that was not compatible with the timeframe of the novel on which the art was displayed. Most of those who commented found such incompatibility to be disturbing. As a reader, I enjoy fashion details in historical novels. Such details bring the characters to life in my mind’s eye. Fashion, food, furniture, and other matters set the scene so that a reader can place the story in the time. A common point mentioned regarding Jane Austen’s novels addresses the fact that she does not describe her characters’ persons or their clothing in any detail, which is sometimes cause for lament and sometimes cause for curiosity. Why this lack of detail?
Jane Austen did not write historical novels. She wrote of her time for readers in her time. Some details would not have needed a great deal of stress or attention as her contemporaries would have known what she was talking about. However, one still wonders why so little attention was paid to appearances. We know Jane Austen was interested in clothes; her surviving letters to Cassandra frequently discuss clothing in detail. One example of this is the letter from Sloane Street written April 18th-20th, 1811. In this letter, Jane Austen discussed her shopping expedition, in which she purchased muslins for herself and Cassandra, bugle trimming and other items, including a new bonnet, and confessed a desire for a new straw hat.
We also know that Jane Austen had ideas about her characters’ appearances. In another letter from Sloane Street, this time dated May 24th, 1813, she told Cassandra of her and brother Henry’s visit to the Exhibition in Sloane Street, where she saw a portrait of Mrs. Bingley in which “Mrs. Bingley is exactly herself…dressed in a white gown, with green ornaments….” (1) She lamented not finding Mrs. Darcy’s portrait, and speculated that Mrs. Darcy would wear yellow.
Jane Austen’s earliest novels that were published during her lifetime were written before she was age 30: Elinor and Marianne (which became Sense and Sensibility) was written approximately 1795, when Austen was 20. First Impressions (which became Pride and Prejudice) was written in 1796, and Susan (which became Northanger Abbey) was written in 1798. Some examples of fashion during this time period are:
Portrait of Susannah Wales by her father James Wales, c 1747-1795
Man’s Fashion Plate c 1795
It is important to remember that none of these books were published until much later. In 1801, the family left Stephenton and moved to Bath upon her father’s retirement. After his death in 1805, Jane Austen, her mother and sister moved periodically until finally, in early 1809, her brother Edward made a cottage in Chawton available for the Austen women. Although Jane Austen had revised Elinor and Marianne heavily in 1798, and had sold the copyright for Susan in 1803 (the publisher did not actually produce the novel, and Austen finally bought the copyright back in 1810), none of her books had yet been published. The years between 1801 and 1809 had not been nearly as productive as her earlier years, although she had done some revisions on Susan and started The Watkins (which was never finished). Once settled in Chawton, Jane Austen resumed her work. Revisions on Elinor and Marianne, First Impressions and Susan continued.
Elinor and Marianne became Sense and Sensibility and was published in 1811. First Impressions became Pride and Prejudice, which was published in 1813. Here are some examples of fashion during this period:
Fashion Plate Half-Dress November 1, 1810
Five Positions of Dancing 1811
Fashion Plate Morning Dress April 1, 1813
As we can plainly see, fashions changed significantly in the period of time between the first drafts and publication dates of Austen’s first two published novels. It is not known if the first drafts of the novels had contained any fashion descriptions. If they did, all such descriptions would have had to be found and revised or removed (not an easy task in the days before computers). If left unchanged, the details would not have added charming historical colour; they would merely have been dated, outmoded, and would have been a distraction to her readers. Jane Austen was also well aware that there was no guarantee of prompt publication once a work was completed. By removing such descriptions (if they had been included in the original drafts) or not writing them in the first place, Jane Austen allowed her readers to visualize her characters for themselves. Certainly, her later novels, Emma, Mansfield Park, and Persuasion, continued this pattern of leaving such details to the imaginations of her readers. I believe Jane Austen deliberately chose not to include such details in her novels. I also believe that this technique contributes to the longevity and freshness of her novels that readers continue to enjoy today.
And that portrait of Mrs. Bingley? There were multiple possibilities, but a favourite contender was a portrait of Mrs. Harriet Quentin by Francois Huet-Villiers, painted before his death in 1813. See an engraving of that portrait produced by William Blake in 1820 here:
(1) JANE AUSTEN’S LETTERS, P. 221
JANE AUSTEN’S LETTERS, Deirdre Le Faye, ed. Fourth Edition. Oxford : Oxford University Press, 2011.
All images from Wikimedia Commons.
We have a guest with us today. Please enjoy this excellent post by Maria Grace. Maria Grace is currently engaged in a blog tour promoting her new book, THE TROUBLE TO CHECK HER, a Pride and Prejudice re imaging focused on Lydia Bennet. I have read it and enjoyed it very much.
The Dance of Courtship
To be fond of dancing was a certain step towards falling in love – Pride and Prejudice, 1813
Jane Austen’s society was governed by strict rules regulating the interaction of the sexes. Young women were always chaperoned in the company of men, leaving the dance floor one of the only places that young people could interact a little more freely. Under cover of the music and in the guise of the dance, young people could talk, flirt and even touch in ways not permitted elsewhere, making it an ideal place to meet potential spouses and carry on a courtship.
Every dance required a partner. During a public assembly, the Master of Ceremonies assisted couples by making introductions and suggesting partners to those who wished them. At a private ball, everyone was considered introduced, so any young man could ask any young woman to dance. A young lady signaled she was interested in dancing by pinning up the train of her gown. If asked to dance at a private event, she could not refuse unless she did not intend to dance for the rest of the night.
Gentlemen were expected to engage a variety of partners throughout the evening. Failing to do so was an affront to all the guests. The way a gentleman asked for a dance could begin a subtle and powerful conversation with a woman which would not otherwise pass by the watchful eyes of chaperones.
The offer might be made with eye contact and a quick gesture toward the dance floor; a smile, a bow and flowery words; a sweaty palmed, stammered request; or even a shrug and an eye roll of ‘well, I suppose you will do.’ A gentleman might request a dance in advance—a definite compliment to the lady. On the other hand, saving more than two dances for a particular partner was detrimental to a young lady’s reputation. Even two dances signaled to observers that the gentleman in question had a particular interest in her.
Balls might begin with a mixer dance in which dancers switch partners frequently, enabling dancers to ‘sample’ every partner on the floor. These provided an excellent opportunity to scope out partners for future sets, particularly if one was looking for someone of a particular skill level or personality to pair with.
How much can one learn in a fifteen- to thirty-second set of steps with a partner whose name you do not even know? Quite a bit actually. One might meet ‘Henry who lists to the left’ who leans to the left, does not hear the caller well, and easily confused. ‘Bob the leprechaun’ might be all smiles, but unable to count rhythm to save his life or his partners. ‘Dashing Dandy’ might be all too aware of the dashing figure he cuts to care much for his partner. ‘The Colonel’ could take himself and the dance very seriously and disapprove of missteps deeply.
Ladies too demonstrated their disposition on the dancefloor. The Bingley sisters, in very fancy gowns indeed, could be inclined to looked down their noses at less experienced dancers and effectively put them in their places. In contrast, Lady Congeniality might make it her place to make everyone feel welcome. Whomever might be there, the ball room floor was lively and full of characters.
The dances for the evening were all built from an array of standard steps. Most of them were simple maneuvers like: partners turn by the right hand and two couples all join right hands and turn once around. Complex movements like figure eights, ‘hays’ and dancing down the set were included as well. In many of the line-based dances, couples would ‘take hands four from the top’, that is they would form groups of two couples who would dance together for one repetition of the music. In simple dances, both couples would perform the same steps throughout the dance. More complicated dances might have the first and second couples executing completely different steps with one more complex than the other, as in Mr. Beveridge’s Maggot (featured in recent movie adaptations of both Austen’s Pride and Prejudice and Emma.)
At the end of that repetition, the final steps ‘progress’ couples into new groups of four, first couples moving down the set to be first couple in the group one down from their previous position, and second couples moving up. In order for progression to work, couples at the top and bottom of the set would wait out a repetition of the music and not dance. This waiting out period offered a prime opportunity for couples to interact relatively privately on the dance floor.
In the span of a several minutes-long repetition, dancers might exchange pleasantries, flirtations, or even cross words. Whatever their conversation, though, they still had to pay attention to the music and other dancers so as not to miss their entry back into the set. At the next repetition they would rejoin the set, switching their role in the dance from first to second or second to first couple.
Not all dances offer these ‘time out’ periods. Circle dances and those done in sets of two or three couples required dancers to participate constantly, so little or no conversation might take place. Even so, a great deal of dance floor communication is possible without dialogue.
Speaking without Words
Eye contact could play a huge role in dance floor tête-à-têtes. From a practical standpoint, the eye contact made for a useful way to stave off dizziness from many rapid turns, but it has the potential for so much more. Eye contact might range from friendly and flirtatious to downright intrusive. Some partners engaging in constant eye contact, could hold their partners an intense, almost physical grip. Such exchanges could become demanding and intimate, isolating the couple in a room full of people.
Some partners might offer little in the way of eye contact, even to the point of avoiding any direct gaze with their partner. An avoidant partner could silently communicate a variety of things, from their own insecurity with the dance steps to distain for their partner.
Subtle physical contact on the dance floor, usually restricted to taking hands or joining arms at the elbow for a turn, also speaks volumes. Hands might be taken, barely touching and only as long as necessary, or held reverently, lingering as long as possible in the connection. In moves like passing ones partner in the middle of the line or circling back to back, how close or how far away ones partner remains communicates a strong message.
The way partners dance together creates a conversation of facial expression and body language as eloquent as the finest speeches. A more experienced dancer can subtly and patiently assist a less certain dancer through complex steps with glances and subtle gestures, encouraging and praising with eyes and smiles. Conversely, experienced dancers can declare disdain and even judgment on a struggling dancer even to the point of rough pushing or pulling that dancer into their correct position.
Partners who are equally anxious about getting the steps right, and good humored in their anxiety, could assist one another, laugh at missteps, and celebrate their victorious achievements progressing through a series of complicated steps. The experience could create a bond over the shared challenge. A gentleman might even kiss a lady’s hand after surviving such a trial—a most romantic gesture indeed.
When two proficient dancers partner, the flow of their coordinated movements could create a connection between them, linking them in purpose and action. The communication and energy flowing between them can be visceral and compelling, poignant as the deepest conversation.
Each dance itself possessed its own character, some being staid and elegant and others playful and flirtatious. Lord Byron’s Maggot—by the way, a maggot referred to a catchy tune, what we would today call an ‘ear worm’—suits its namesake. One set of steps involved a woman a man with a flirtatious ‘come hither’ beckon to follow her. The three couple dance, Hunt the Squiril (sic) requires the first couple to chase each other, weaving through the other dancers. These suggestive moves could be made as token gestures or with sincere energy.
It is easy to see how in the period, where conversation was restricted to ‘polite’ topics and interactions between unmarried individuals were strictly chaperoned, the dance floor offered the one place where open expression was considered acceptable. There, individuals could be dramatic, funny and flirtatious without censure from society at large—provided of course that they did not take their self-expression too far. Therein lays the power and allure of the dance floor for hero and heroine, for there alone might they express what they could not say directly.
Take a peek at the book blurb for THE TROUBLE TO CHECK HER!
Lydia Bennet faces the music…
Running off with Mr. Wickham was a great joke—until everything turned arsey-varsey. That spoilsport Mr. Darcy caught them and packed Lydia off to a hideous boarding school for girls who had lost their virtue.
It would improve her character, he said.
Ridiculous, she said.
Mrs. Drummond, the school’s headmistress, has shocking expectations for the girls. They must share rooms, do chores, attend lessons, and engage in charitable work, no matter how well born they might be. She even forces them to wear mobcaps! Refusal could lead to finding themselves at the receiving end of Mrs. Drummond’s cane—if they were lucky. The unlucky ones could be dismissed and found a position … as a menial servant.
Everything and everyone at the school is uniformly horrid. Lydia hates them all, except possibly the music master, Mr. Amberson, who seems to have the oddest ideas about her. He might just understand her better than she understands herself.
Can she find a way to live up to his strange expectations, or will she spend the rest of her life as a scullery maid?
Meet the Author!
Though Maria Grace has been writing fiction since she was ten years old, those early efforts happily reside in a file drawer and are unlikely to see the light of day again, for which many are grateful. After penning five file-drawer novels in high school, she took a break from writing to pursue college and earn her doctorate in Educational Psychology. After 16 years of university teaching, she returned to her first love, fiction writing.
She has one husband, two graduate degrees and two black belts, three sons, four undergraduate majors, five nieces, six new novels in the works, attended seven period balls, sewn eight Regency era costumes, shared her life with nine cats through the years and published her tenth book last year.
She can be contacted at:
Random Bits of Fascination (http://RandomBitsofFascination.com)
Austen Variations (http://AustenVariations.com)
English Historical Fiction Authors
On Twitter @WriteMariaGrace
On Pinterest: http://pinterest.com/mariagrace423/
Thanks to movies and television, Jane Austen’s novels, especially PRIDE AND PREJUDICE and PERSUASION, are synonymous with happy-ever-after. Many love her works as romantic courtship novels. Ironically, Jane Austen has also been embraced as a feminist author, thanks to her subtle criticisms of male-dominated education and economics, and her personal unmarried state. In recent years, speculation on her personal love life and reasons for her failure to marry has generated a variety of novels and movies as well. The fact remains that marriage is a central point of her novels. There is a conflict common in all of her novels, again especially visible in PRIDE AND PREJUDICE: marriage as a romantic state versus marriage as a means of financial support. This conflict was present throughout Austen’s life, and was the dichotomy for gentlewomen of her time. On one hand, Romantic thought required a marriage based only on mutual love, a one-time event. On the other hand, reality saw many women propelled into marriage solely for financial support. The same reality forced many widows into remarriage, regardless of their desires. A shortage of eligible males and women’s vulnerability to changes of status exacerbated the situation.
Jane Austen knew that marriage did not provide a guarantee of financial security. Money was lost, as in brother Henry’s bankruptcy. (Mrs. Smith in PERSUASION epitomized a woman’s vulnerability when a family fortune was decimated.) Inheritance laws distributed assets, resulting in distress, as illustrated by Mrs. Bennet’s obsession with the entailment that would result in Mr. Collins’ inheriting Longbourn when Mr. Bennet dies. There was no assurance that family members would aid an unattached female. Romantic fervor did not always last. A rise of divorce, particularly well-publicized in Austen’s time as it was still an expensive rarity, showcased a woman’s vulnerability in marriage. High society divorces occurred, such as that of Lord and Lady Worsley, in Jane Austen’s lifetime, and she was aware of them. In SENSE AND SENSIBILITY, Colonel Brandon disclosed the sad fate of his first love to Eleanor: an heiress forced into an unloving marriage with his elder brother, mistreated, seduced, ultimately divorced and left with inadequate means of support despite her personal fortune (which remained in her husband’s hands), leading to her complete ruin.
I believe that Jane wanted to be married. However, her definition of marriage seems to have been very specific: a union of shared tastes and interests, mutual affection and mutual respect. Neither financial security nor romantic love (or infatuation) individually was enough. PRIDE AND PREJUDICE contained multiple examples of marriages that were unhappy because the partners were unequally matched in terms of education, interests, respect, infatuation that cooled or other circumstances. Mr. and Mrs. Bennet’s relationship was the classic portrait of unequal marriage: her pretty face and flirting caught the eye of an educated young gentleman. His disillusionment, loss of respect and withdrawal from his wife had an extremely damaging effect on their children. (The differences between Jane and Lizzie (early products of the marriage), and Mary, Kitty and Lydia (later products of the search for a son and heir) showed the deleterious effect on the family as a whole of Mr. Bennet’s disenchantment with his wife ).
The marriage of Charlotte and Mr. Collins highlighted another unequal match: her need to find a place with a modicum of security so she would not be a charge on her brother or father led her to coolly pursue marriage to a singularly unsatisfactory man. Her superiority of taste and thought versus his foolishness did not lead to disillusionment for Charlotte but resulted in a constant effort to find satisfaction in her own abilities to counter the loneliness and frequent humiliation she experienced in her life with Mr. Collins. Lydia and Wickham was the ultimate mismatched couple, with no hope of any real comfort. Their marriage was the outcome of an elopement propelled by her giddy infatuation with the military and his taste for debauchery, and only occurred because Mr. Darcy had the means to compel Wickham to marry Lydia. They had no real affection for each other, no home or significant money of their own and no welcome from family or friends. Lydia had no significant hope of security (she had no internal or financial resources of her own, and Wickham’s unsteadiness and lack of a stable profession other than the military left them living on the edge of disaster).
Other novels in Ms. Austen’s body of work contain examples of unequal marriages as well: Sir Thomas and Lady Bertram in MANSFIELD PARK, and Charles and Mary Musgrove in PERSUASION are only a couple of examples. In PERSUASION, Lady Russell was in no hurry (or was possibly unwilling) to change her widowed state which allowed her full control of her life and her funds. Certainly, she showed no interest in pursuing Sir Walter Elliot. In her Juvenilia, “Catharine or the Bower” in Volume the Third contains the story of a young lady who, against her personal inclinations, went to India to find a husband and was “Splendidly, yet unhappily married.”* (This story is based on her own family experience, as her aunt Philadelphia, her father’s sister, went to India and was married there.)
Jane Austen withdrew into premature spinsterhood, reluctantly yet almost with relief. Was it due to the loss of an early love, or a strong-willed desire to control her own destiny? Were there other factors? Jane advised her niece not to marry without affection. Her novels show the pitfalls of unequal, unloving or imprudent marriages, and the merits of marriages that combine affection, shared tastes and other benefits. Her heroines achieved the ideal state of being married happily and advantageously. However, her novels seem to contain more illustrations of the less satisfactory relationships than the happy ones. While the characters and circumstances involved in these less-than-happy marriages added greatly to the entertainment factor of the stories, one can’t help but see a warning of the dangers of marriage entered into lightly or for the wrong reasons.
With her family’s support and encouragement, Ms. Austen enjoyed writing and earning her own money. She was proud of her work and very interested in the financial reward of it. She saw women’s need for improved education and the ability to provide for their own support. Her sharp wit and keen observations were, and are still, admired. We should also consider her emotions as a girl and young woman, and how those emotions affected her writing. Did she truly feel a “splendidly engaged indifference”*. to marriage, or was she making the best of her unmarried state? When Mr. Bigg-Wither proposed in December 1802, he offered Ms. Austen a comfortable life in a family she knew and liked; his sisters were close friends. However, she did not particularly like or admire him personally. She accepted, and then withdrew her acceptance the next day. Her acceptance shows she was aware of the advantages that marriage to Mr. Bigg-Wither offered; her withdrawal shows that she valued respect and esteem more.
Jane Austen evolved from a girl dreaming of marriage into a determined spinster unwilling to settle for second best, as shown in family records, her letters and her novels. In PERSUASION, Anne Elliot defined good company as “the company of clever, well-informed people, who have a great deal of conversation….”*** In my opinion, the character of Anne Elliot and this quote in particular reveal Jane Austen’s personal views and desires regarding relationships in general and marriage in particular most clearly. Jane was a woman of her time, a realist, who understood her family’s situation. She was also a woman of feeling, in a loving family. Choice as well as circumstances led to her decision to stay a spinster. Her wit and observations gave her writings humor, while her emotional growth allowed her to combine the sparkle of youthful hope, the caution of experience in adulthood and the wisdom of maturity in her stories.
*Chapman, R.W., ed. MINOR WORKS The Oxford Illustrated Jane Austen Vol. 6. 1988: Oxford University Press, Oxford, p. 194.
**Walker, Eric C. MARRIAGE, WRITING AND ROMANTICISM Wordsworth and Austen After War. 2009: Stanford University Press, Palo Alto, CA, p. 226.
*** Chapman, R. W., ed. NORTHANGER ABBEY AND PERSUASION The Oxford Illustrated Jane Austen Vol. 5. 1988: Oxford University Press, Oxford, p. 150 of PERSUASION.
Smuggling could be the effort of individuals seizing an opportunity, or a professional, large-scale planned venture. The majority of fines and penalties were, unfortunately and perhaps unfairly, paid by the opportunists, who could come from any class-a desperate individual, a shop keeper willing to become part of a distribution chain, or a fashionable lady unable to resist the lure of hard-to-find fabrics or trimming. Professionals frequently had the backing of well-heeled sponsors and could afford to consider fines the cost of doing business. A new ship could be purchased after a few successful runs.
Smugglers brought in goods subject to tariffs and taxes-silk, lace, brandy, etc.-for sale. Import restrictions and blockades made certain goods hard to come by, and taxation was heavy on those goods that were available legally. Individuals in all classes would take advantage of a consignment filled by smugglers to avoid paying these heavy duties. Once a cargo was landed, it was brought overland in well-planned routes that made it almost impossible to know if an item was smuggled or legitimately obtained by the time it reached a market place.
All coastal areas were affected by smuggling, including the Scilly Isles, Kent (especially Romney Marsh), Cornwall, Sussex, and Whitby in Yorkshire. Some communities along the coast were in league with smugglers, with an entire community potentially dependent on smuggling, first to obtain goods not otherwise available to them, and then as participants in the landing, concealing and moving the goods. Foreign smugglers also contributed, such as the Dutch smugglers who brought gin and other goods into Whitby. Ultimately, smuggling was virtually a national industry, and involved numerous gangs, moving alcohol (gin, wine and brandy, among other beverages), tea, silk, lace, tobacco and other popular items. It is not impossible that the shops frequented by Jane Austen in London may have carried smuggled goods.
Smuggling went both ways during Napoleonic wars with refugees, goods and information moving into England, while escaped prisoners, money and information moved into France. In the last years of the war, Napoleon accommodated smugglers in Dunkirk and Gravelines, and encouraged them to make the trips back and forth. (Such a journey could be accomplished in 4 or 5 hours, weather and other conditions permitting.)
Politicians and the monarchy were acutely aware of a depleted treasury (war and the Prince Regent were both very costly), and worked hard to suppress smuggling. Taxes of course were no more popular in Jane Austen’s time than they are today. The wars drew away troops, leaving fewer available for the preventive service for much of the coast, although fears of a French invasion kept attention focused on the coastline, especially the south-east coast-it’s no coincidence that militia units were stationed in coastal areas such as Brighton (the possible deterrent to smugglers may have been as much a motive as a deterrent to invasion).
After Waterloo ended the war in 1815, there was an upsurge in smuggling due to men being released from military (especially from the navy) unable to find jobs. (A lack of excitement after wartime may have also been a factor.) However, it was reduced by the 1820’s due to activities of Customs, Preventives and Coast Guard. Smuggling methods had to adapt (contraband had to be concealed-hidden under a legitimate cargo or in clever hiding places). The Coast Blockade established on land on the east Kent coast 2 years after Waterloo consisted of land patrols that were an effective deterrent, in spite of clashes with smuggling gangs, and the temptations of bribery.
Adkins, Roy & Lesley. JANE AUSTEN’S ENGLAND. 2013: Viking, New York, NY.
Blue Anchor Corner. “A bullish attitude towards smuggling in the 18th century,” posted by Philip Atherton 12/11/2014. http://seasaltercross.com/2014/12/11/a-bullish-attitude-towards-smuggling-in-the-17th-and-18th-centuries
Border Force National Museum. Maritime Archives and Library Information Sheet 24. “History of Smuggling.” (PDF) Last revised May 2010. http://www.liverpoolmuseums.org.uk/maritime/archive/pdf/24-History-of-smuggling.pdf
English Historical Fiction Authors Blog. “The Lesser Known Smugglers of the North” by Nick Smith, posted 9/17/2014. http://englishhistoryauthors.blogspot.com/2014/09/the-lesser-known-smugglers-of-north.html
Regency Reflections. “Smuggling in Regency England,” posted by Naomi Rawlings, 4/23/2012. http://christianregency.com/blog/2012/04/23/smuggling-in-regency-england
Smugglers’ Britain. “Britain’s Smuggling History Expansion…and Defeat.” (No author or posting date shown.) http://www.smuggling.co.uk/history_expansion.html
My sister has spent the last few weeks packing things to move house. This has been a long and exhausting endeavor for her and,
from time to time, she has sent things my way. Today, I came home to find two small boxes of treasure trove on my doorstep.
A few items were quite thrilling to me. One was my great-grandmother’s text book “The Standard Question Book and Home Study Outlines” which was published in 1920 and signed by her in 1922. I do not know if she acquired this for her own study, or if she was teaching and, sadly, have no one to ask. However, it indicates an interest in study that I share. Maybe my great-grandmother acquired the “Outlines” as a study guide for my grandmother. Another was a text book, “Outlines of European History Part II” which covered from the 17th century to the “War of 1914”, which belonged to my grandmother who was in her junior year. This volume appears to have been published in 1916. I am so excited to see this, as it covers a lot of material in which I am interested from a different perspective than some of the more recently-published histories that I have read. There were some other gems as well. However, the real prize for me was a volume of PRIDE AND PREJUDICE by Jane Austen.
As you can see, the dust jacket had a picture of Greer Garson and Lawrence Olivier, who starred in the 1940 film version of PRIDE AND PREJUDICE. This volume was published by Grosset & Dunlap, a publisher who was one of the first (if not the first) to use movie still on dust jackets and as inserts. There is also another illustration inside the volume, which shows Miss Bingley, played by Frieda Inescort, trying to catch the attention of Mr. Darcy (Lawrence Olivier). Although the dust jacket is damaged (the spine, back and back flap are missing), the book itself is in pretty good condition and has my grandmother’s signature on the fly leaf. I know she kept the remaining portion of the dust jacket carefully in the back of the book (I suspect she was a fan of Mr. Olivier-who can blame her?). As best I can tell, this was published sometime in the 1940’s, but there is no date in the book. This book was accompanied by The Pocket Library paperback edition of PRIDE AND PREJUDICE published in 1954, and printed in 1958. This little volume is complete worn out-I have a feeling that this was my grandmother’s “reading copy” while the other was one of her cherished possessions. The best part is that my sister, knowing of my interest in all things Austen, made the effort to pack these up and send them to me. It was so thoughtful of her to think of me-the links between my great-grandmother, my grandmother and sister make these items very special treasures.
A very special package came to me from England the other day. A dear friend sent me a copy of The Illustrated letters Jane Austen ‘My Dear Cassandra’. She sent it because she knows my love of all things Austen, and knew I would enjoy it. And I do…
I never liked reading letters written by famous people before. Somehow, I felt like it was an intrusion on the writer’s privacy, even when the writer was long gone. It’s hard to really “get” letters sometimes-you weren’t there for the inside jokes. When it’s an historical figure, there is so much background information that you don’t have. Context can be difficult. As I got older, however, I acquired a taste for reading them. One gains so much insight about the writer and his or her time. It is amazing, sometimes, how contemporary an individual from long ago can seem when one is reading her private thoughts. I have found Jane Austen’s letters to be fascinating, because of her wry, and frequently caustic, wit and the emotions which show through. Having read the Oxford edition of her letters, and used them for research purposes on more than one occasion, I am familiar with some of her letters and enjoy dipping into them.
This little books, however, is something special. Penelope Hughes-Hallett selected some of Jane Austen’s letters to her sister Cassandra, and others, and compiled them with illustrations-portraits, landscapes, drawings, paintings- carefully selected to illustrate the people, places and activities that Austen discussed in each letter. They are extremely well chosen, and give an additional dimension to the letters. The reader can actually “see” more of the context of each letter. This is a delightful book, and I would recommend it to any Jane Austen fan. I would especially recommend it to anyone who has shied away from reading her letters for any reason.
Although this is not a new book (originally published in 1990, with subsequent reprints), it seems to be readily available through AbeBooks, the Tattered Covered, and other book outlets. I highly recommend it, whether you want to read it yourself or desire it as a gift for your favorite Janeite!
It’s summertime, and the air is full of buzzing and humming (not to mention whining and slapping noises!). I have purple porterweed blooming by my door. One early morning, I was absolutely entranced by the cloud of white butterflies that flitted from bloom to bloom. It was amazing and exquisite to watch. The same bush attracts honey bees; not so exquisite (and sometimes a little scary when they buzz up to me when I go out), but the hum of bees as they busy themselves in the flowers is still an important element of summer. I do like honey so I give the bees plenty of room.
Then, there are those other summer visitors: flies, mosquitoes, fleas, and more. Not to mention that ancient scourge, bed bugs! How to eliminate pests without affecting the pleasant and beneficial insects, or ourselves, has been a concern down through time. While some of the earlier remedies are rather off-putting, others are pleasant as well as effective.
An infallible Receipt to destroy Bugs in Eliza Smith’s THE COMPLEAT HOUSEWIFE is a concoction of egg whites and quicksilver (mercury) at the rate of 1 ounce of quicksilver for every five or six eggs. These ingredients are mixed well, and beat together in a wooden dish with a brush until the quicksilver is barely visible. This is applied to the cleaned and disassembled bedstead (brushed clean, not washed). The mixture must be rubbed into all cracks and joints and allowed to dry. You cannot wash the bedstead afterwards. According to the recipe, the first application will destroy the bugs; if not, a second application will finish the job. This is clearly a remedy for the loathsome bedbug. However, we now know that mercury is highly toxic. The idea of leaving an emulsion of egg white and mercury on a bed is almost as distasteful at the bug itself; I was also not attracted by the idea of not washing the bedstead before or after the application. (The old fashioned remedy of burning the bed suddenly seems more reasonable!) Don’t try this at home…
It’s so much pleasanter to think of lavender and its many uses. It is a wonderful insect repellent. I had excellent results using it to deter silverfish and other fabric-loving bugs that loved to lurk in my laundry room in a previous residence. No matter how I cleaned or what I used, the little wretches would reappear, until I made lots of little lavender bags and tucked them into the backs of shelves, in corners and so forth. They never came back. Dried lavender, alone or mixed with other herbs such as rosemary, not only gives clothes or linens stored in closets, chests of drawers or other storage containers a wonderful smell; it discourages moths as well. So much more pleasant than moth balls, and not poisonous!
A few drops of lavender oil or essence in water makes a very soothing solution; it can soothe a slight burn and helps relieve an itch. A Jane Austen Household Book with Martha Lloyd’s Receipes contains a recipe for Lavender Water, and instructions “To Make A Sweet Pot” which seems to be a potpourri which contains violets, roses, thyme, lavender and other flowers and herbs. A health food store I frequent carries a wonderful lavender witch hazel solution. Culpeper’s COMPLETE HERBAL & English Physician credits lavender with numerous healing virtues. If nothing else, a spray of lavender water on a pillow creates a lovely and soothing atmosphere for a good night’s sleep. You won’t even notice all that humming!
Take a look at:
Hickman, Peggy. A JANE AUSTEN HOUSEHOLD BOOK with Martha Lloyd’s recipes. 1977: David & Charles Inc. North Pomfreet, NY.
Culpeper, Nicholas. Culpeper’s COMPLETE HEREBAL and English Physician. 1981: Harvey Sales-reproduces from edition published in 1826.
Smith, Eliza. The Compleat HOUSEWIFE. 1994: Studio Editions Ltd., London, England. First published in 1758.
Image: Wikipedia Commons http://upload.wikimedia.org/wikipedia/commons/9/9e/Albin_Eleazar_Moth_1720.png
A SUMMER BANQUET: A Regency Picnic
During the summer months, we tend to go for lighter fare, and (whenever possible) to eat outdoors. The picnic was just as popular in England during the Georgian and Regency periods, as illustrated by the picnic at Box HIll in Jane Austen’s EMMA. Using Eliza Smith’s The Compleat HOUSEWIFE cookbook, we can pull together a delightful summer banquet for outdoors. The bills of fare for May, june, July and August provide plenty of ideas.
For the first course, along with a “Grand Sallad”, some “Roasted Losbsters”, “Fruit of all Sorts,” “Gooseberry Tarts”, and “Fish in Jelly” sounds delicious. The second course should include some cold ham and chicken, a dish of “Fish in jelly” and a “Pigeon Pie”. For both courses pickled asparagus and pickled slice cucumbers make tasty garnishes. Removes could include a “Potatoe Pie”, some strawberries or raspberries, and “Morello Cherry Tarts.”
To make a “Pigeon Pie”, you start with a two-crust pastry. After that, Mrs. Smith says “Truss and season your pigeons with savory spice, lard them with bacon, stuff them with forc’d mean, and lay them in the pye with the ingredients for savory pyes, with butter, and close the pie.” (Savory spices include salt and pepper, nutmeg, and mace. Herbs such as thyme, marjoram, parsley, or savory could also be added, with a shallot or onion.) When the pie is done, pour a Lear into the pie. A Lear is a sauce or gravy. Mrs. Smith instructs “Take claret, gravy, oyster-liquor, two or three anchovies, a faggot of sweet-herbs and an onion; boil it up and thicken it with brown butter, then pour it into your savory pyes when called for.” Savory pies such as pigeon pie can be eaten hot or room temperature or cold.
SUMMER BANQUET BLOG HOP GIVEAWAY
Summer is the perfect time to sit outside with a book. I am giving away a signed paperback copy of my book HEYERWOOD: A Novel to a winner in the U.S. or Canada. Just leave a comment for a chance to win (be sure to leave a contact e-mail)! This drawing will close at midnight on Friday, June 7, 2013, and a winner will be announced as quickly as possible. Good luck!
This blog hop will appear from June 3-June 7, 2013. Please visit all of the participating authors for more summer fun!