Wednesday, June 30, 2021

Jane Austen: Love and Money



The Jane Austen 10 pound note was introduced in 2017


It's quite fitting that Jane Austen graces British money. Money was, after all, as much a major theme in her novels as love. That is what accounts for Auden's account of why he finds the novelist too intimidating a writer to write to:

 

Extracts from WH Auden's "Letter to Lord Byron"

There is one other author in my pack:

For some time I debated which to write to.

Which would be least likely to send my letter back?

But I decided I'd give a fright to

Jane Austen if I wrote when I had no right to,

and share in her contempt the dreadful fates

Of Crawford, Musgrave, and Mr. Yates.

You could not shock her more than she shocks me;

Besides her Joyce seems innocent as grass.

It makes me uncomfortable to see

An English spinster of the middle class

Describe the amorous effects of `brass',

Reveal so frankly and with such sobriety

The economic basis of society.



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Readers (and viewers) of Pride and Prejudice can't help but be struck by how everyone seems to know a person's net worth. Even before we encounter Mr. Bingley and Mr. Darcy directly, we know that the former has 4,000 pounds a year, less than half of the 10,000 a year ascribed to the master of Pemberly.  But it is in Sense and Sensibility that Austen is at her most incisive about the role money plays in people's lives and mocks those who say they disdain "wealth" while assuming a large sum as a bare minimum.



In chapter 17, the two sisters discuss wealth versus competence, starting with Marianne's question:


“What have wealth or grandeur to do with happiness?”


“Grandeur has but little,” said Elinor, “but wealth has much to do with it.”

“Elinor, for shame!” said Marianne, “money can only give happiness where there is nothing else to give it. Beyond a competence, it can afford no real satisfaction, as far as mere self is concerned.”

“Perhaps,” said Elinor, smiling, “we may come to the same point. Your competence and my wealth are very much alike, I dare say; and without them, as the world goes now, we shall both agree that every kind of external comfort must be wanting. Your ideas are only more noble than mine. Come, what is your competence?”

“About eighteen hundred or two thousand a year; not more than that.”

Elinor laughed. “Two thousand a year! One is my wealth! I guessed how it would end.”

“And yet two thousand a-year is a very moderate income,” said Marianne. “A family cannot well be maintained on a smaller. I am sure I am not extravagant in my demands. 
A proper establishment of servants, a carriage, perhaps two, and hunters, cannot be supported on less.”



Marrying for money does work out for some 


Marianne is correct in her estimate of the minimal income requires to maintain Willoughby's lifestyle. He does enjoy the good life and hunting, which is exactly why he ends up marrying Miss Sophia  Grey who has 50,000 pounds of her own. 


That level of wealth certainly makes up for her being not as much to his taste as Marianne is, particularly when he is disinherited by Mrs. Smith for having impregnated Eliza and refusing to marry her. Austen makes a point of saying that the wicked aren't punished in her novel, and Willoughby does enjoy his lifestyle. 


The final chapter of the book assures us that even if he regretted the loss of Marianne,  we should not assume Willoughby's life was one of suffering:

But that he was for ever inconsolable, that he fled from society, or contracted an habitual gloom of temper, or died of a broken heart, must not be depended on—for he did neither. He lived to exert, and frequently to enjoy himself. His wife was not always out of humour, nor his home always uncomfortable; and in his breed of horses and dogs, and in sporting of every kind, he found no inconsiderable degree of domestic felicity.


Similarly, Lucy Steele enjoys her advancement in jilting Edward Ferrars for his brother once their mother conferred the income that should have gone to the eldest on Robert:

The whole of Lucy’s behaviour in the affair, and the prosperity which crowned it, therefore, may be held forth as a most encouraging instance of what an earnest, an unceasing attention to self-interest, however its progress may be apparently obstructed, will do in securing every advantage of fortune, with no other sacrifice than that of time and conscience.  


Where does one draw the line between mercenary and prudent? 

Both Lucy Steele and Willoughby are clearly not models of behavior. That they achieve happiness of their own sort, Austen assures us, is due to the world not always living up to out expectations of fairness. However, the treatment of marrying for money is treated with more nuance in Pride and Prejudice.


Wickham, a character very much like Willoughby amuses himself with flirting with various women, including Elizabeth, until he shifts his attention to King, whose chief attraction is her 10,000 pounds. Elizabeth doesn't resent Willoughby's defection. She discusses this with her aunt, Mrs. Gardiner:

“Pray, my dear aunt, what is the difference in matrimonial affairs, between the mercenary and the prudent motive? Where does discretion end, and avarice begin? Last Christmas you were afraid of his marrying me, because it would be imprudent; and now, because he is trying to get a girl with only ten thousand pounds, you want to find out that he is mercenary.” 

Mrs. Gardiner had also warned Elizabeth not to get her hopes up for Col. Fitzwilliam. As a younger son, he admitted, he would be looking to ally himself with wealth, and Elizabeth, with no more than a thousand pounds to be settled on her, would also need to make a more advantageous match from a material point of view.

Charlotte Lucas offers yet another example of the difficulty in pinning down where discretion ends and avarice begins. Her marriage to Mr. Collins is completely motivated by material concerns. Though it gets subsumed under the main plot, one of the subplots of the novel is Elizabeth's coming to terms with her best friend's decision. She does turn away from her from a while but does comes to realize that Charlotte does make the best of things and is not unhappy.

Jane Austen novels on a wallet

The value of beauty in hard currency

Charlotte recognizes that she has less appeal on the marriage market because of her lack of beauty, which is why, as a plain woman of 27 with no fortune of her own, she believes that this 25 year-old clergyman who stands to inherit Longbourn is really the best deal to which she can aspire. This calculus of what a woman's looks entitle her to expect is made explicit in Sense and Sensibility.

In Chapter 33, John Dashwood observes to Elinor how Marianne loss of beauty (at 17) will mar her marriage prospects:

 At her time of life, any thing of an illness destroys the bloom for ever! Hers has been a very short one! She was as handsome a girl last September, as I ever saw; and as likely to attract the man. There was something in her style of beauty, to please them particularly. I remember Fanny used to say that she would marry sooner and better than you did; not but what she is exceedingly fond of you, but so it happened to strike her. She will be mistaken, however. I question whether Marianne now, will marry a man worth more than five or six hundred a-year, at the utmost, and I am very much deceived if you do not do better. 


Related

Jane Austen and Autism

Jane Austen's Heroines

 Observations on Jane Austen's Emma

Three Janes, Two Governesses, and the Abolitionist Movement




Monday, June 28, 2021

Love and Limerence in Jane Austen


"Men of sense do not want silly wives," Mr. Knightley tells Emma.

In context, the infallible Mr. Knightley is correct. Yet Emma is not wrong in her understanding that many men look only for beauty and agreeableness, qualities Harriet Smith certainly possesses.

Jane Austen's novels offer abundant proof of Emma's assumption holding true. One of them appears in Sense and Sensibility in the narrator's explanation of how Mr. Palmer' ended up with the irritatingly silly Charlotte: "through some unaccountable bias in favour of beauty, he was the husband of a very silly woman" He fell into the same trap that Mr. Bennet fell into and deals it in the same way -- by ignoring his wife as much as possible.

So what drives men of sense to marry silly wives? Or in the case of Mansfield Park, the question may be why do they marry women they are not fit for, as in the disastrous marriage of Mr. Rushworth to Maria Bertram? It's the same thing that drives women of virtue to fall for cads like Wickham, Willoughby.


Chemical reactions


They are taken in by good looks and a flirtatious charm. The response to that arouses sexual attraction, and that chemical reaction is what makes them fall into limerence. The term limerence was not around in Jane Austen's day, though she certainly showed understanding of what it was and how it alone was not a sufficient basis for a solid marriage.


John Gottman refers to limerence in several books and articles. To see it in brief, visit, Gottman 3 phases of love: " In 1979, Dorothy Tennov coined the term 'limerence' for the first stage of love, characterized by physical symptoms (flushing, trembling, palpitations), excitement, intrusive thinking, obsession, fantasy, sexual excitement, and the fear of rejection."


This, Gottman identifies as the "falling in love" stage of love. That is when one is convinced that they've found "the one" who is peerless and faultless. We see this in Marianne's instant attachment to Willoughby and her priding herself on not being constrained by conventional expectations for relationships because she believes her strong feelings equal complete knowledge of the other (Sense and Sensibility Ch. 12).


"You are mistaken, Elinor," said she warmly, "in supposing I know very little of Willoughby. I have not known him long indeed, but I am much better acquainted with him, than I am with any other creature in the world, except yourself and mama. It is not time or opportunity that is to determine intimacy;-- it is disposition alone. Seven years would be insufficient to make some people acquainted with each other, and seven days are more than enough for others.... of Willoughby my judgment has long been formed."

What accounts for this throwing all caution to the wind and believing only the best of the person one is attracted to is literally chemistry. Gottman cites Dr. Theresa Crenshaw’s book The Alchemy of Love and Lust, about what it takes to "set off the cascade of hormones and neurotransmitters that accompanies the exciting first phase of love."


Incidentally, for all those who think it's all about how a person looks, that's wrong. Appearances alone -- certainly when they are reduced to two dimension on a screen -- can never set off the potent mix of chemical involved in the feeling of attraction. It's not just looks but also how they physically fit, even how they smell.


Gottman lists some of the chemicals that send these limerence signals:

Phenyleteylamine (PEA) is a natural form of amphetamine our bodies produce and has been called “the molecule of love.”
Pheromones, produced from DHEA, influence sensuality rather than sexuality, creating an inexplicable sense of well-being and comfort.
Ocytocin has been called “the cuddle hormone.” It compels us to get close, and when we are feeling close (to anyone) we secrete it. It is secreted by the posterior pituitary gland, and stimulates the secretion of dopamine, estrogen, LHRH, and vasopressin.


We see exactly this experience happening for Marianne in her relationship with Willoughby. While we don't see it happening in the same way, Sense and Sensibility has Edward Ferrars relate that he had fallen into limerence when he became engaged to Lucy Steele. The feelings that overwhelm the person falling in love are "generally accompanied by poor judgment, so that people will ignore the red flags that they will inevitably confront," as Gottman puts it.

Chemistry alone doesn't cut it


However, Edward wakes up from his infatuation with Lucy after he meets Elinor and starts to realize that there really was nothing there for him besides the superficial attraction. He was attracted-- not unlike Mr. Palmer -- to a woman with some prettiness who knew enough to gain a man's interest. But over four years and seeing another woman who is so much her superior, Edward falls out of limerence and only keeps up the engagement out of a deep sense of honor (watch for another blog on that).

A Good Housekeeping article on romantic chemistry quotes Carrie Cole, M.Ed., L.P.C., research director and Gottman Master Trainer at The Gottman Institute. “Chemistry opens the door, but it’s what we do with it afterwards that determines whether the relationship will have any legs.” She goes on to explain, “chemistry and compatibility are two different things, and sometimes the people we feel an overwhelming attraction to are not right for us long-term."

The bad marriages we see in Austen and in real life are due to those people allowing themselves to marry the person they feel attracted to without thinking beyond that. Cole's quote applies perfectly to the Bennet's, Edward's mistake in Lucy Steele, and the mistake that Edmund Bertram makes about Mary Crawford:

"People can get into trouble by rushing to commit to someone when they prioritize chemistry over shared interests and values.”

Signs of true love as a basis for marriage


Austen is aware of the headiness of limerence and how it is what stirs some people to select someone that may not be approved of by others, though it can be the right choice. That's the story in Persuasion. Anne picked the right man in Frederick Wentworth but was warned off because lady Russel thought it was just an infatuation. Darcy picked the right woman in Elizabeth, but he had to realize that she was right not just because he is infatuated with her but because she is the choice of reason, as well as feeling.

Darcy wins Elizabeth in the same way that Col. Brandon wins Marianne -- not by arousing limerence but in jumping right to the second phase of love that Gottman identifies as building trust. When one can answer yes to the big questions like “Will you be there for me? Can I trust you?" you get a a strong foundation for a relationship.

Arriving at the yes there is not easy. That's why, Gottman explains, "Love in Phase 2 becomes punctuated by frustration, exasperation, disappointment, sadness." Elizabeth experiences that, as does Anne Elliot, Elinor Dashwood, and Fanny Price.


Building Commitment and Loyalty

Commitment and loyalty are the characteristics of  what Gottman identifies as the third phase of love. All of Austen's heroines get that with their choice of husbands. One of the important points that both Austen and Gottman make about keeping that relationship healthy is focusing on the positive rather than the hurt that one had experienced before. The difference between successful and unsuccessful relationships can  hinge on whether they opt for "cherishing one another and nurturing gratitude for what they have with their partner, or" choose to dwell on :resentment for what they think is missing."

Elizabeth laughs this off as having a poor memory, while Anne makes a point of having Wentworth see things from her point of view. He does and then admits his own blame in not having come back for her sooner out of a sense of pride (see Pride, Prejudice and Persuasion: Obstacles to Happiness in Jane Austen's Novels)


And it is very clear that Col. Brandon never blames Marianne for having preferred Willoughby to him, and their marriage is not about settling on her part but about her realizing that the final stages phase of love matter more than feeling swept off one's feet by limerence.
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Wednesday, June 23, 2021

Pride, Prejudice and Persuasion: Obstacles to Happiness in Jane Austen's Novels

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It is a truth --universally acknowledged  or not --that the traits of pride and prejudice are what threaten the happiness of Jane Austen's hero and heroine in the novel that names those traits in the title. It also appears pretty obvious that the Lady Russell's persuasion is what prompted Anne Elliot to break her own heart, as well as that of Frederick Wentworth. Pride is also to blame in the story of Persuasion, though.

Ostensibly it is the dreaded Elliot pride that is to blame. After all, Lady Russell's influence over Anne's decision stems from the status of the Elliot family. Certainly, we see several examples of the Elliot pride on display in the snobbishness of Anne's father and both her sisters.  Anne admits to having a form of pride, as well, though it is one that feels embarrassment for her family for falling all over Lady Dalrymple and her daughter, relatives who had ignored them for years to an apparent snub going back to the time before Anne's mother's death.

Relative risk for social aspirations

In chapter 16, Anne reflects on her disappointment in her father and eldest sister: "She had hoped better things from their high ideas of their own situation in life, and was reduced to form a wish which she had never foreseen; a wish that they had more pride; for 'our cousins Lady Dalrymple and Miss Carteret;' 'our cousins, the Dalrymples,' sounded in her ears all day long."

This is the idea of proper pride, of knowing one's essential worth well enough not to seek out reflected glory in others who bear a higher rank in society. The Elliot's fawning over their aristocratic relatives are no better than Mr. Collins who insists on referring to  his patroness, Lady Catherine de Bourgh, into every conversation.


Lingering resentment

While the Elliot pride is what accounted for the initial division between Anne and  Frederick Wentworth, it is the captain's pride that maintains it. He observes that point near the end of the book.  In chapter 23, Anne argues that she was not to blame in following the guidance of trusted friend and that she hopes that  resentment against Lady Russell will not linger.

Wentworth responds with some reflection that leads to self-recrimination:

"Not yet. But there are hopes of her being forgiven in time. I trust to being in charity with her soon. But I too have been thinking over the past, and a question has suggested itself, whether there may not have been one person more my enemy even than that lady? My own self. Tell me if, when I returned to England in the year eight, with a few thousand pounds, and was posted into the Laconia, if I had then written to you, would you have answered my letter? Would you, in short, have renewed the engagement then?"

"Would I!" was all her answer; but the accent was decisive enough.

"Good God!" he cried, "you would! It is not that I did not think of it, or desire it, as what could alone crown all my other success; but I was proud, too proud to ask again. I did not understand you. I shut my eyes, and would not understand you, or do you justice. This is a recollection which ought to make me forgive every one sooner than myself. Six years of separation and suffering might have been spared. It is a sort of pain, too, which is new to me. I have been used to the gratification of believing myself to earn every blessing that I enjoyed. I have valued myself on honourable toils and just rewards. Like other great men under reverses," he added, with a smile. "I must endeavour to subdue my mind to my fortune. I must learn to brook being happier than I deserve."

 Here Jane Austen makes it clear that she exonerates Anne completely and has Wentworth recognize that he is more to blame than she is. Had he reached out to her after only two years of separation, they could have been reconciled and settled six years earlier than they are. Thus pride proves to be an even greater obstacle to happiness than the persuasion that Anne learned to shake off once she got out of her teens.

The role of Helpful antagonists

The pride of not subjecting oneself to a second rejection could have kept them apart forever if not for the involvement of another person, however unwittingly. Like Darcy, Wentworth waits for a signal from his beloved to renew his proposal -- what gives each man hope that he will be accepted this round. In Darcy's case it was Elizabeth's refusal to promise not to accept Darcy when pushed to do so by Lady Catherine. 

This was such an important factor in his deciding to go ahead that the 1940 film version of the book presented Lady Catherine as in on the plot to sound out Elizabeth's feelings. Of course, that is a blatant deviation from the book, though the film aimed to be even more "light, and bright, and sparkling" and redeem even Lady Catherine. 

For Wentworth, the deciding factor was hearing Anne declare that women are more constant than men in love (in general) in talking about Captain Benwick with Captain Harville when he complains about having to get his miniature -- that had been intended for his sister --set for Louisa instead.  It is hearing Anne's view that motivates Wentworth to propose again, though this time via letter to spare himself any direct answer that may be a rejection.  

The power of the pen

We may as well look at the whole letter, as the opening line is among the most romantic declarations to be found in English literature. It appears in Chapter 23.

Persuasion line on Jane Austen portrait 
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"I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved none but you. Unjust I may have been, weak and resentful I have been, but never inconstant. You alone have brought me to Bath. For you alone, I think and plan. Have you not seen this? Can you fail to have understood my wishes? I had not waited even these ten days, could I have read your feelings, as I think you must have penetrated mine. I can hardly write. I am every instant hearing something which overpowers me. You sink your voice, but I can distinguish the tones of that voice when they would be lost on others. Too good, too excellent creature! You do us justice, indeed. You do believe that there is true attachment and constancy among men. Believe it to be most fervent, most undeviating, in F. W.

"I must go, uncertain of my fate; but I shall return hither, or follow your party, as soon as possible. A word, a look, will be enough to decide whether I enter your father's house this evening or never."

Wentworth and Darcy  get their second chance at love because they are willing to overcome the inclination to resent the refusal forever. This is very rare in real life. As a matchmaker, I see men all the time reject suggestion out of hands simply because the woman in question had said no to a date with them in the past. They don't allow for people to have changed and being open to things they would not have considered in the past and would rather have the loss than risk a second rejection. 

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 Related:

Jane Austen at the Morgan
Three Janes, Two Governesses,
Observations on Jane Austen's Emma
Jane Austen and Autism












Friday, June 18, 2021

Jane Austen at the Morgan

Jane Austen novels are my cup of tea
Jane Austen novels are my cup of tea
by Totally_Jane_Austen
From November 2009 to March 2010, there was a special exhibit of Jane Austen writings at the Morgan Library & Museum called A Woman's Wit: Jane Austen's Life and Legacy.

The Morgan itself owns the largest collection of Jane Austen letters in the world. Unfortunately, her sister burned most of them, so the relatively few that remain are treasures, indeed. The letters show that Austen, like Jane Fairfax in Emma used cross-writing to save paper. If you view the digitized version on the site, you can zoom in to decipher one of her letters for yourself. 
The detailed description on the letter says: 
 

Writing over the course of three days, Austen acknowledges receiving another letter from Cassandra in the meantime: "You are very amiable & very clever to write such long Letters; every page of yours has more lines than this, & every line more words than the average of mine. I am quite ashamed—but you have certainly more little events than we have." The letter is full of little events: "Mr Waller is dead, I see;—I cannot grieve about it, nor perhaps can his Widow very much," and "I want to hear of your gathering Strawberries, we have had them three times here." She reports that she is not enjoying Walter Scott's newest creation Marmion, an epic poem about a sixteenth-century battle between the English and the Scots, although she suspects she should be.



I do consider these letters a wonderful image for Austen's novels and her characters. The first read reveals something, but it takes another read from another angle to get a deeper understanding about the heart of the matter. In Persuasion, for example, Anne Elliot finds her cousin to be all that is sensible, amiable, and charming but has her friend's revelation about his ruthless selfishness assure her that he was dissembling all along. The reverse is true of Mr. Darcy, who makes a terrible first impression but later proves himself -- in a letter, no less -- to be the very best of men.

The Morgan has also fully digitized its hand-written copy of Lady Susan, and you can feast your eyes on all 161 pages: https://www.themorgan.org/sites/default/files/pdf/facsimile/AustenMA1226.pdfread  
It is really a wonderful experience to see the author's own handwriting, and it's  fully legible without any cross-writing challenges. Back in the day when I  had to look up an Oscar Wilde typescript for an assignment, I had to go to the library and handle it with gloves. Now one can just summon a manuscript at home on demand. 


Channeling Jane Austen pen


Related posts: 







Thursday, June 17, 2021

Three Janes, Two Governesses, and the Abolition Movement

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With Juneteenth just two days away, I thought it a good time to mention something many people miss in Emma -- an allusion to slavery that was still in practice at the time. 

In Emma, Jane Austen created a perfect little village where the worst people achieve no more than mean girl tricks and putdowns. The Eltons feel superior when putting down Harriet Smith, and Emma proves her worth by feeling bad about her witticism at Miss Bates' expense. While a threateningly powerful figure looms large in the novel -- Mrs. Churchill -- she remains off-stage, where she also conveniently died.

Outside polite society

One thing that is even further off-stage in the novel is slavery, both the kind that was illegal in England and the kind that was legal with low wages thrown in. Mansfield Park is the novel that critics have identified as linked to slavery because the master of the estate in the title relies on income generated by slave labor in Antigua and  leaves his home for an extended time to tend to his plantations.

But it is in Emma that it comes up more explicitly to illustrate a character's proof grasp on imagery. This happens in chapter 17 when Mrs. Elton insists on pushing Jane into a governess position sooner rather than later. (Note how close to Dickensian Austen gets in naming the person referred to Suckling.) Jane tries to politely decline Mrs. Elton's interference and tells her:

   "When I am quite determined as to the time, I am not at all afraid of being long unemployed. There are places in town, offices, where inquiry would soon produce something—Offices for the sale—not quite of human flesh—but of human intellect.”

Mrs. Elton mistake of Jane Fairfax's meaning, as is clear from her response:

“Oh! my dear, human flesh! You quite shock me; if you mean a fling at the slave-trade, I assure you Mr. Suckling was always rather a friend to the abolition.”

“I did not mean, I was not thinking of the slave-trade,” replied Jane; “governess-trade, I assure you, was all that I had in view; widely different certainly as to the guilt of those who carry it on; but as to the greater misery of the victims, I do not know where it lies. But I only mean to say that there are advertising offices, and that by applying to them I should have no doubt of very soon meeting with something that would do.”


Mrs. Elton only hears of slavery and immediately makes a point of establishing the family she had in mind as allied with the abolitionist movement. However, what Jane was thinking about was what in Marxist terms would be called "wage-slavery." 

A governess would not be working for free, though she'd be working for very little. The main thing, though is that she'd have a master/mistress who is in control of her time.


Like a servant, the governess has to live with the household and move with them or stay behind as they bid. Unlike the other servants, though, she is hired for what we would call white-collar (or perhaps pink-collar) work rather than manual labor. As a result, the governess is neither fish nor fowl as she occupies a shadowy space between the gentry who employ her and the rest of the staff.

This is the uncomfortable position that Jane Fairfax is loath to accept. She is, at this point, secretly engaged to Frank Churchill and so can become a gentleman's wife instead of a paid laborer, so long as the timing works out (which it does, as this is a novel with a happy ending for all).


From Jane Fairfax to Jane Eyre

It's clear that Charlotte Bronte read Jane Austen. After all, George Lewes was constantly advising her to follow in her literary footsteps. Bronte had her own ideas, however. She declared, "I should hardly like to live with her ladies and gentlemen in their elegant but confined houses" yet one wonders if she somehow absorbed the character of Jane Fairfax and gave her first name to her most famous heroine -- Jane Eyre -- and her last name to the housekeeper at Thornton Hall. 

I will have to restrain myself back from going on about Jane Eyre whose book makes up a whole chapter in my dissertation. Feel free to download it and read at your leisure. Like Jane Fairfax, Jane Eyre was born into the gentry class but was orphaned and impoverished and then sent to live with a wealthier family. From that point, though, their histories diverge.

Fairfax got on very well with the rich daughter of the house and remained her companion until she married. In contrast, Eyre, was bullied and even abused by her rich relatives and sent away to a charity school that also abused her. Coming out of that, a governess position was a step up, and still got her happily ever after.  

But for Fairfax, who had already met the man she loves and was just waiting to become Mrs. Churchill once the tyrannical woman who currently holds the title dies, a governess position was a serious step down. That is why she only accepts the position after a fallout with Churchill and is quite happy to let it go. She has no need to reach financial independence to feel equal to him. 

But Bronte's heroine takes pride in holding her position. She admits to being subject to the master's orders because he pays her but still insists that they are equals. Bronte saw dignity in a woman using her education for her work, and that is something that informs her heroine's character and her deciding that a woman like that -- rather than the beautiful and rich Emma -- deserves to tell her own story. 




Wednesday, June 16, 2021

Observations on Jane Austen's Emma

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I  recently reread Emma recently and was struck by a number of themes (including one surprise mention of slavery that I'll put in another post) and structural parallels.


The right thing to do is the kind thing

Emma is redeemable for all her faults because she has a kind heart. Her father does, as well, though it manifests itself in fussing about warmth, food, calling in the doctor, etc. We see this clearly in the novel when he sends the pig portion to the Bates household, and Emma orders it to be an even more generous cut.


They have consideration for their servants, as does Mr. Knightley. It's clear that -- in contrast to Mrs. Elton -- he knows their names and tries to minimize their trouble. Part of the reason why he insists on the meal being served in the home rather than outside when he allows visitors to pick the estate's strawberries is because that makes things easier for the servants.


Mr. Knight only takes a carriage to the dance in order to be able to bring in Miss Bates and Jane. He does things in a quiet way. Also important to note that in the novel it is made clear that he doesn’t normally dance, so his dancing with Harriet after she is snubbed by Elton becomes even more significant. 


The novels also shows examples of false kindness. They include Mrs. Elton pressing Jane into a governess job she doesn’t want, Emma pushing Harriet to aspire higher than Robert Martin, and Frank Churchill gifting Jane with a piano with no notice, giving rise to all kinds of speculation.

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Mentorship

Mr. Knightley mentors Robert Martin purely to be helpful. He also serves as a mentor to Emma. His goal is 
to make her the best person she can be and recognize her duty in her society where she is the 19th century equivalent of an influencer.

On the other hand,  Emma mentors Harriet Smith with mixed motives and questionable guidance at times. But she is not as self-serving as Augusta Elton who takes on Jane Fairfax to enhance her view of herself as helpful when she is wholly bossy and manipulative.


Couples

Mr. Knightly brings out the best Emma. His love for her doesn't blind him to her faults (in contrast to Emma's sister who is always blind to the faults of those she loves). Mrs. Elton brings out her husband’s mean side and encourages it, pushing him on to humiliate Harriet by refusing to dance with her. In contrast, as Mr. Knightly suggests, Jane Fairfax will be a positive influence on Frank Churchill.




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Three Janes, Two Governesses, and the Abolitionist Movement
Jane Austen and Autism

Sunday, June 13, 2021

Jane Austen and Autism

  




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A full eight years ago I wrote about introversion in Jane Austen's heroines here:  Jane Austen's heroines.  What was left out of that perspective was a consideration of introverted heroes. They include both Edward Ferrars and Colonel Brandon in Sense and Sensibility. But the most beloved introvert hero of all is Mr. Darcy of Pride and Prejudice.

Mr. Darcy exhibits such extreme introverted behavior in the earlier parts of the book that some readers interpret it as signs of being on the spectrum. I first came across that theory in a YouTube video


To be fair, it doesn't quite claim that Mr. Darcy is autistic but that what defines his comfort zone, as well as his way of thinking and responding to social and conversational cues really resonates with those who are neuroatypical. 

A few days after I happened across that video, I found the source of theory of Darcy as autistic in Deborah Yaffe's book Among the Janeites It stems from a speech therapist named Phyllis Ferguson Bottomer. Her inspiration was not the book itself but the A&E adaptation that she watched in 2002. She zeroed in on the important interaction in Ch. 31 in which Elizabeth relays her point of view of  Mr. Darcy's rudeness, and he explains himself:

“I certainly have not the talent which some people possess,” said Darcy,“of conversing easily with those I have never seen before. I cannot catch their tone of conversation, or appear interested in their concerns, as I often see done.”

Bottomer seized on the parallel between this explanation and how Temple Grandin explained her experienced her experience as an autistic in her autobiography: "I have always have a hard time fitting in with this rhythm."

Bottomer was so convinced that the novel portrayed people on the spectrum that she started presenting at Jane Austen conferences and wrote her own book on the subject: So Odd a Mixture: Along the Autistic Spectrum in 'Pride and Prejudice.'

I haven't read Bottomer's book, but I have read quite a number of books on introversion (see links below). I'm also an introvert myself and do understand the reluctance to make small talk and throw oneself into a dance when one is feeling not truly connected to those around one. 

Perhaps one would argue that introverts have some autistic tendencies, but one could just as well say that autistics have some introvert tendencies. In a Venn diagram, there would be an overlap between the two. Bearing that in mind, one need not conclude that anyone with those shared tendencies is necessarily on the spectrum, or that perhaps we should really normalize what is considered neuroatypical as typical because introverts do make up a substantial number of the population, as much as half, according to Laurie Helgoe. 


Whether one attributes Mr. Darcy's standoffishness to autistic tendencies or to a natural proclivity for introversion, the assumption Jane Austen and Elizabeth make is that it can be countered. In this key exchange, she likens conversational social skills to playing an instrument and so gently chides him by way of analogy: 


“My fingers,” said Elizabeth, “do not move over this instrument in the masterly manner which I see so many women’s do. They have not the same force or rapidity, and do not produce the same expression. But then I have always supposed it to be my own fault—because I will not take the trouble of practising. It is not that I do not believe my fingers as capable as any other woman’s of superior execution.”

Darcy takes this as her seeing a point of commonality between them, which makes him feel more at ease in her presence. Notice how often he responds to what she says with a smile, and this is one of those instances:


Darcy smiled and said, “You are perfectly right. You have employed your time much better. No one admitted to the privilege of hearing you can think anything wanting. We neither of us perform to strangers.”


He takes this to mean she understands them, but in truth she doesn't yet. That will take more time and more opening up on his end, risking vulnerability, which many introverts find extremely difficult. But that is the key to their whole relationship: Darcy has to overcome his natural inclination to connect with Elizabeth, and she has to let go of her extrovert assumption that she can take a full and accurate read on others instantly. They are the paradigm of a successful marriage of opposites.

See