by Jane Austen
Miss Austen’s place was won slowly but surely, unlike those authors whose works spring into instantaneous popularity, to be forgotten with equal promptness, or others who like Mrs. Stowe write a book which, for historical reasons, gains immediate vogue and yet retains a certain reputation. The author of “Pride and Prejudice” gains in position with the passing of the years. She is one of the select company of English writers who after a century are really read, really of more than historical significance. New and attractive editions of her books are frequent: she not only holds critical regard (and to criticism her importance is permanent) but is read by an appreciable number of the lovers of sound literature; read far more generally, we feel sure, than Disraeli or Bulwer or Charles Kingsley, who are so much nearer our own day and who filled so large a place in their respective times. Compared with them, Jane Austen appears a serene classic. When all is said, the test, the supreme test, is to be read: that means that an author is vitally alive, not dead on the shelves of a library where he has been placed out of deference to the literary Mrs. Grundy. Lessing felt this when he wrote his brilliant quatrain:
Wer wird nicht einen Klopstock loben,
Doch wird ihn jeder lesen? Nein!
Wir wollen weniger erhoben
Und fleissiger gelesen sein,
So was the century which was to be conspicuous for its development of fiction that should portray the social relations of contemporary life with fine and ever-increasing truth, most happily inaugurated by a woman who founded its traditions and was a wonderful example of its method. She is the literary godmother of Trollope and Howells, and of all other novelists since who prefer to the most spectacular uses of the imagination the unsensational chronicling of life.
ON JANE AUSTEN IN THE GENERAL ELECTION by G. K. Chesterton
THERE was a remark about Jane Austen in connexion with the General Election. We have most of us seen a good many remarks about Jane Austen in connexion with the Flapper or the New Woman or the Modern View of Marriage, or some of those funny things. And those happy few of us who happen to have read Jane Austen have generally come to the conclusion that those who refer to her have not read her. Feminists are, as their name implies, opposed to anything feminine. But some times they disparaged the earlier forms of the feminine, even when they showed qualities commonly called masculine. They talk of Sense and Sensibility without knowing that the moral is on the side of Sense. They talk about fainting. I do not remember any woman fainting in any novel of Jane Austen. There may be an exception that I have forgotten; there is indeed a lady who falls with a great whack off the Cobb at Lyme Regis. But few ladies would do that as a mere affected pose of sentiment. But rarely does a lady dash herself from Shakespeare’s Cliff or the Monument solely to assume a graceful attitude below. Jane Austen herself was certainly not of the fainting sort. Nor were her favourite heroines, like Emma Woodhouse or Elizabeth Bennett. The real case against Jane Austen (if anybody is so base and thankless as to want to make a case against her) is not that she is sentimental, but that she is rather cynical. Allowing for the different conventions of subject-matter in the two periods, she was rather like Miss Rose Macaulay. But Miss Rose Macaulay finds herself in a world where fainting-fits would be a very mild form of excitement. There is something very amusing about this appeal to a comparison between the novels of the two periods. The heroine of many a modern novel writhes and reels her way through the story, chews and flings away fifty half-smoked cigarettes, is perpetually stifling a scream or else not stifling it, howling for solitude or howling for society, goading every mood to the verge of madness, seeing red mists before her eyes, seeing green flames dance in her brain, dashing to the druggist and then collapsing on the doorstep of the psycho-analyst; and all the time congratulating herself on her rational superiority to the weak sensibility of Jane Austen.
I do not say the new woman is like the new neurotic heroine; any more than I think the older woman was like the artificial fainting heroine. But if the critics have a right to argue from the old novels, we have a right to argue from the new. And what I say is true of the novels of some new novelists; and what they say is not true of the novels of Jane Austen. But, as I have said, we are already familiar with this sort of journalistic comment on Jane Austen’s novels. It was always sufficiently shallow and trivial, being based on a vague association, connected with ladies who wore drooping ringlets and were therefore supposed to droop. But the particular example that I observed was more unique and interesting, because it has a special point of application to-day. A writer in a leading daily paper, in the course of a highly optimistic account of the new attitude of woman to men, as it would appear in the General Election, made the remark that a modern girl would see through the insincerity of Mr. Wickham, in Pride and Prejudice, in five minutes.
Now this is a highly interesting instance of the sort of injustice done to Jane Austen. The crowd (I fear, the considerable crowd) of those who read that newspaper and do not read that author will certainly go away with the idea that Mr. Wickham was some sort of florid and vulgar impostor — like Mr. Mantalini. But Jane Austen was a much more shrewd and solid psychologist than that. She did not make Elizabeth Bennett to be a person easily deceived, and she did not make her deceiver a vulgar impostor. Mr. Wickham was one of those very formidable people who tell lies by telling the truth. He did not merely swagger or sentimentalize or strike attitudes; he simply told the girl, as if reluctantly, that he had been promised a living in the Church by old Mr. Darcy, and that young Mr. Darcy had not carried out the scheme. This was true as far as it went; anybody might have believed it; most people would have believed it, if it were told with modesty and restraint. Mr. Wickham could be trusted to tell it with modesty and restraint. What Mr. Wickham could not be trusted to do was to tell the rest of the story; which made it a very different story. He did not think it necessary to mention that he had misbehaved himself in so flagrant a fashion that no responsible squire could possibly make him a parson; so that the squire had compensated him and he had become an officer in a fashionable regiment instead. Now that is a very quiet, commonplace, everyday sort of incident, and the sort of incident that does really occur. It is a perfectly sound and realistic example of the way in which quite sensible people can be deceived by quite unreliable people. And the novelist knew her business much too well to make the unreliable person obviously unreliable. That sort of quiet and plausible liar does exist; I certainly see no reason to think he has ceased to exist. I think Jane Austen was right in supposing that Elizabeth Bennett might have believed him. I think Jane Austen herself might have believed him. And I am quite certain that the Modern Girl might believe him any day.
But the rather queer application of all this to the case of the General Election is not without a moral, after all. The optimistic journalist, who gloried in the infallible intuition of the Flappers’ Vote, chose a very unlucky example for his own purpose when he chose the ingenious Mr. Wickham. For Mr. Wickham was, or is, exactly the sort of man who does make a success of political elections. Sometimes he is just a little too successful to succeed. Sometimes he is actually found out, by some accident, doing very dexterous things in the art of finance; and he disappears suddenly, but even then silently. But in the main he is made for Parliamentary life. And he owes his success to two qualities, both exhibited in the novel in which he figures. First, the talent for telling a lie by telling half of the truth. And second, the art of telling a lie not loudly and offensively, but with an appearance of gentlemanly and graceful regret. It was a very fortunate day for professional politicians when some reactionaries began to accuse them of being demagogues. The truth is that they seldom dare to be demagogues; and their greatest success is when they talk with delicacy and reserve like diplomatists. A dictator has to be a demagogue; a man like Mussolini cannot be ashamed to shout. He cannot afford to be a mere gentleman. His whole power depends on convincing the populace that he knows what he wants, and wants it badly. But a politician will be much wiser if he di
sguises himself as a gentleman. His power consists very largely in getting people to take things lightly. It is in getting them to be content with his sketchy and superficial version of the real state of things. Nothing tends more happily to this result than the shining qualities of Mr. Wickham; good manners and good nature and a light touch. All sorts of answers are given by Ministers to questions asked in Parliament, which could only be delivered in this way. If such palpable nonsense were thundered by an orator, or shouted by a demagogue, or in any way made striking and decisive, even the House of Commons would rise in riot or roar with laughter. Nonsense so nonsensical as that can only be uttered in the tones of a sensible man.
So vividly do I see Mr. Wickham as a politician that I feel inclined to rewrite the whole of Pride and Prejudice to suit the politics of to-day. It would be amusing to send the Bennett girls rushing round to canvass: Elizabeth with amusement, and Jane with dignified reluctance. As for Lydia, she would be a great success in modern politics. But her husband would be the greatest success of all; and he might become a Cabinet Minister while poor old Darcy was sulking in the provinces, a decent, truthful, honourable Diehard, cursing the taxes and swearing the country was going to the dogs — and especially to the puppies.
JANE AUSTEN’S JUVENILIA by G. K. Chesterton
In a recent newspaper controversy about the conventional silliness and sameness of all the human generations previous to our own, somebody said that in the world of Jane Austen a lady was expected to faint when she received a proposal. To those who happen to have read any of the works of Jane Austen, the connection of ideas will appear slightly comic. Elizabeth Bennet, for instance, received two proposals from two very confident and even masterful admirers; and she certainly did not faint. It would be nearer the truth to say that they did. But in any case it may be amusing to those who are thus amused, and perhaps even instructive to those who thus need to be instructed, to know that the earliest work of Jane Austen might be called a satire on the fable of the fainting lady. `Beware of fainting fits . . . though at times they may be refreshing and agreeable yet believe me they will in the end, if too often repeated and at improper seasons, prove destructive to your Constitution.’ Such were the words of the expiring Sophia to the afflicted Laura; and there are modern critics capable of adducing them as a proof that all society was in a swoon in the first decade of the nineteenth century. But in truth it is the whole point of this little skit that the swoon of sensibility is not satirised solely because it was a fiction. Laura and Sophia are made ludicrously unlike life by being made to faint as real ladies do not faint. Those ingenious moderns, who say that the real ladies did faint, are actually being taken in by Laura and Sophia, and believing them against Jane Austen. They are believing, not the people of the period but the most nonsensical novels of the period, which even the people of the period who read them did not believe. They have swallowed all the solemnities of The Mysteries of Udolpho, and never even seen the joke of Northanger Abbey.
For if these juvenilia of Jane Austen anticipate especially any of her after works, they certainly anticipate the satiric side of Northanger Abbey. Of their considerable significance on that side something may be said presently; but it will be well to preface it by a word about the works themselves as items of literary history. Everyone knows that the novelist left an unfinished fragment, since published under the name of The Watsons, and a finished story called Lady Susan, in letters, which she had herself apparently decided not to publish. These preferences are all prejudices, in the sense of matters of unmanageable taste; but I confess I think it a strange historical accident that things so comparatively dull as Lady Susan should have been printed already, while things so comparatively lively as Love and Friendship should never have been printed until now. It is at least a curiosity of literature that such curiosities of literature should have been almost accidentally concealed. Doubtless it was very rightly felt that we may go much too far in the way of emptying the waste-paper basket of a genius on the head of the public; and that there is a sense in which the waste-paper basket is as sacred as the grave. But without arrogating to myself any more right in the matter than anybody has to his own taste, I hope I may be allowed to say that I for one would have willingly left Lady Susan in the waste-paper basket, if I could have pieced together Love and Friendship for a private scrap-book; a thing to laugh over again and again as one laughs over the great burlesques of Peacock or Max Beerbohm.
Jane Austen left everything she possessed to her sister Cassandra, including these and other manuscripts; and the second volume of them containing these was left by Cassandra to her brother, Admiral Sir Francis Austen. He gave it to his daughter Fanny, who left it in turn to her brother Edward, who was the Rector of Barfrestone in Kent, and the father of Mrs Sanders, to whose wise decision we owe the publication of these first fancies of her great-aunt; whom it might be misleading here to call her great great-aunt. Everyone will judge for himself; but I myself think she has added something intrinsically important to literature and to literary history; and that there are cartloads of printed matter, regularly recognised and printed with the works of all great authors, which are far less characteristic and far less significant than these few nursery jests.
For Love and Friendship, with some similar pages in the accompanying fragments, is really a rattling burlesque; something much better than what the ladies of the time called an agreeable rattle. It is one of those things that can be the more readily read with enjoyment through being written with enjoyment; in other words, it is all the better for being juvenile in the sense of being joyful. She is said to have written these things at the age of seventeen, evidently in much the same spirit in which people conduct a family magazine; for the medallions included in the manuscript were the work of her sister Cassandra. The whole thing is full of the sort of high spirits that are always higher in private than in public; as people laugh louder in the house than in the street. Many of her admirers would not expect, perhaps many of her admirers would not admire, the sort of fun to be found in the letter to the young lady `whose feelings were too strong for her judgment’, and who remarks incidentally `I murdered my father at a very early period in my life, I have since murdered my mother, and I am now going to murder my sister’. Personally, I think it admirable; not the conduct, but the confession. But there is much more than hilarity in the humour, even at this stage of its growth. There is almost everywhere a certain neatness in the nonsense. There is not a little of the true Austen irony. ‘The noble Youth informed us that his name was Lindsay — for particular reasons, however, I shall conceal it under that of Talbot.’ Did anyone really desire that to disappear into the waste-paper basket? `She was nothing more than a mere good-tempered, civil and obliging young woman; as such we could scarcely dislike her — she was only an object of contempt.’ Is not that something like the first faint line in the figure of Fanny Price? When a loud knocking is heard on the door of the Rustic Cot by the Uske, the heroine’s father enquires the nature of the noise, and by cautious steps of inference they are enabled to define it as somebody outside striking the door. `”Yes” (exclaimed I) “I cannot help thinking it must be somebody who knocks for admittance.” “That is another point” (replied he) “we must not pretend to determine on what motive the person may knock — tho’ that some one does rap at the door I am partly convinced”.’ In the aggravating leisure and lucidity of that reply, is there not the foreshadowing of another and more famous father; and do we not hear for a moment, in the rustic cottage by the Uske, the unmistakable voice of Mr Bennet?
But there is a larger critical reason for taking pleasure in the gaiety of these various travesties and trifles. Mr Austen-Leigh seems to have thought them not sufficiently serious for the reputation of his great relative; but greatness is not made up of serious things, in the sense of solemn things. The reason here, however, is as serious as even he or anyone else could desire; for it concerns the fundamental quality of one of the finest talents in letters.
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nbsp; A very real psychological interest, almost amounting to a psychological mystery, attaches to any early work of Jane Austen. And for that one reason, among others, which has hardly been sufficiently emphasised. Great as she was, nobody was likely to maintain that she was a poet. But she was a marked example of what is said of the poet; she was born, not made. As compared with her, indeed, some of the poets really were made. Many men who had the air of setting the world on fire have left at least a reasonable discussion about what set them on fire. Men like Coleridge or Carlyle had certainly kindled their first torches from the flambeaux of equally fantastic German mystics or Platonic speculators; they had gone through furnaces of culture where even less creative people might have been inflamed to creation. Jane Austen was not inflamed or inspired or even moved to be a genius; she simply was a genius. Her fire, what there was of it, began with herself; like the fire of the first man who rubbed two dry sticks together. Some would say that they were very dry sticks which she rubbed together. It is certain that she by her own artistic talent made interesting what thousands of superficially similar people would have made dull. There was nothing in her circumstances, or even in her materials, that seems obviously meant for the making of such an artist. It might seem a very wild use of the wrong word to say that Jane Austen was elemental. It might even seem even a little wanton to insist that she was original. Yet this objection would come from the critic not really considering what is meant by an element or an origin. Perhaps it might be as well expressed in what is really meant by an individual. Her ability is an absolute; it cannot be analysed into influences. She has been compared to Shakespeare; and in this sense she really does recall the joke about the man who said he could write like Shakespeare if he had the mind. In this case we seem to see a thousand spinsters sitting at a thousand tea-tables; and they could all have written Emma, if they had the mind.
