‘23 Hans Place, Thursday, November 23 (1815).°
‘SIR,—My brother’s note last Monday has been so fruitless, that I am afraid there can be but little chance of my writing to any good effect; but yet I am so very much disappointed and vexed by the delays of the printers, that I cannot help begging to know whether there is no hope of their being quickened. Instead of the work being ready by the end of the present month, it will hardly, at the rate we now proceed, be finished by the end of the next; and as I expect to leave London early in December, it is of consequence that no more time should be lost. Is it likely that the printers will be influenced to greater dispatch and punctuality by knowing that the work is to be dedicated, by permission, to the Prince Regent? If you can make that circumstance operate, I shall be very glad. My brother returns “Waterloo”° with many thanks for the loan of it. We have heard much of Scott’s account of Paris.1 If it be not incompatible with other arrangements, would you favour us with it, supposing you have any set already opened? You may depend upon its being in careful hands.
‘I remain, Sir, your obt. humble Set.
‘J. AUSTEN.’
‘Hans Place, December 11 (1815).°
DEAR SIR,—As I find that “Emma” is advertised for publication as early as Saturday next, I think it best to lose no time in settling all that remains to be settled on the subject, and adopt this method as involving the smallest tax on your time.
‘In the first place, I beg you to understand that I leave the terms on which the trade should be supplied with the work entirely to your judgment, entreating you to be guided in every such arrangement by your own experience of what is most likely to clear off the edition rapidly. I shall be satisfied with whatever you feel to be best. The title-page must be “Emma, dedicated by permission to H.R.H. the Prince Regent.” And it is my particular wish that one set should be completed and sent to H.R.H. two or three days before the work is generally public. It should be sent under cover to the Rev. J. S. Clarke, Librarian, Carlton House. I shall subjoin a list of those persons to whom I must trouble you to forward also a set each, when the work is out; all unbound,° with “From the Authoress” in the first page.
‘I return you, with very many thanks, the books you have so obligingly supplied me with. I am very sensible, I assure you, of the attention you have paid to my convenience and amusement. I return also “Mansfield Park,” as ready for a second edition, I believe, as I can make it. I am in Hans Place till the 16th. From that day inclusive, my direction will be Chawton, Alton, Hants.
‘I remain, dear Sir,
‘Yr faithful humb. Servt.
‘J. AUSTEN.
‘I wish you would have the goodness to send a line by the bearer, stating the day on which the set will be ready for the Prince Regent.’
‘Hans Place, December 11 (1815).°
‘DEAR SIR,—I am much obliged by yours, and very happy to feel everything arranged to our mutual satisfaction. As to my direction about the title-page, it was arising from my ignorance only, and from my having never noticed the proper place for a dedication.° I thank you for putting me right. Any deviation from what is usually done in such cases is the last thing I should wish for. I feel happy in having a friend to save me from the ill effect of my own blunder.
‘Yours, dear Sir, & c.
‘J. AUSTEN.’
‘Chawton, April 1, 1816.°
‘DEAR SIR,—I return you the “Quarterly Review” with many thanks. The Authoress of “Emma” has no reason, I think, to complain of her treatment in it, except in the total omission of “Mansfield Park.” I cannot but be sorry that so clever a man as the Reviewer of “Emma”° should consider it as unworthy of being noticed. You will be pleased to hear that I have received the Prince’s thanks for the handsome copy I sent him of “Emma.” Whatever he may think of my share of the work, yours seems to have been quite right.
‘In consequence of the late event in Henrietta Street,° I must request that if you should at any time have anything to communicate by letter, you will be so good as to write by the post, directing to me (Miss J. Austen), Chawton, near Alton; and that for anything of a larger bulk, you will add to the same direction, by Collier’s Southampton coach.
‘I remain, dear Sir,
‘Yours very faithfully,
‘J. AUSTEN.’
About the same time the following letters passed between the Countess of Morley° and the writer of ‘Emma.’ I do not know whether they were personally acquainted with each other, nor in what this interchange of civilities originated: —
The Countess of Morley to Miss J. Austen
‘Saltram, December 27 (1815).
‘MADAM,—I have been most anxiously waiting for an introduction to “Emma,” and am infinitely obliged to you for your kind recollection of me, which will procure me the pleasure of her acquaintance some days sooner than I should otherwise have had it. I am already become intimate with the Woodhouse family, and feel that they will not amuse and interest me less than the Bennetts, Bertrams, Norrises,° and all their admirable predecessors. I can give them no higher praise.
‘I am, Madam, your much obliged
‘F. MORLEY.’
Miss J. Austen to the Countess of Morley
‘MADAM,—Accept my thanks for the honour of your note, and for your kind disposition in favour of “Emma.” In my present state of doubt as to her reception in the world, it is particularly gratifying to me to receive so early an assurance of your Ladyship’s approbation. It encourages me to depend on the same share of general good opinion which “Emma’s” predecessors have experienced, and to believe that I have not yet, as almost every writer of fancy does sooner or later, overwritten myself.
‘I am, Madam,
‘Your obliged and faithful Servt.
‘J. AUSTEN.
‘December 31, 1815.’
CHAPTER VIII
Slow growth of her fame—III success of first attempts at publication—Two Reviews of her works contrasted
SELDOM has any literary reputation been of such slow growth as that of Jane Austen. Readers of the present day know the rank that is generally assigned to her. They have been told by Archbishop Whately, in his review of her works, and by Lord Macaulay, in his review of Madame D’Arblay’s,° the reason why the highest place is to be awarded to Jane Austen, as a truthful drawer of character, and why she is to be classed with those who have approached nearest, in that respect, to the great master Shakspeare. They see her safely placed, by such authorities, in her niche, not indeed amongst the highest orders of genius, but in one confessedly her own, in our British temple of literary fame; and it may be difficult to make them believe how coldly her works were at first received, and how few readers had any appreciation of their peculiar merits. Sometimes a friend or neighbour, who chanced to know of our connection with the author, would condescend to speak with moderate approbation of ‘Sense and Sensibility,’ or ‘Pride and Prejudice’; but if they had known that we, in our secret thoughts, classed her with Madame D’Arblay or Miss Edgeworth, or even with some other novel writers of the day whose names are now scarcely remembered, they would have considered it an amusing instance of family conceit. To the multitude her works appeared tame and commonplace,1 poor in colouring, and sadly deficient in incident and interest. It is true that we were sometimes cheered by hearing that a different verdict had been pronounced by more competent judges: we were told how some great statesman or distinguished poet held these works in high estimation; we had the satisfaction of believing that they were most admired by the best judges, and comforted ourselves with Horace’s ‘satis est Equitem mihi plaudere.’° So much was this the case, that one of the ablest men of my acquaintance1 said, in that kind of jest which has much earnest in it, that he had established it in his own mind, as a new test of ability, whether people could or could not appreciate Miss Austen’s merits.
But though such golden opinions were now and then gathered in, yet the wide field of public taste yielded no
adequate return either in praise or profit. Her reward was not to be the quick return of the cornfield, but the slow growth of the tree which is to endure to another generation. Her first attempts at publication were very discouraging. In November, 1797, her father wrote the following letter to Mr. Cadell:—°
‘Sir,—I have in my possession a manuscript novel, comprising 3 vols., about the length of Miss Burney’s “Evelina.” As I am well aware of what consequence it is that a work of this sort shd make its first appearance under a respectable name, I apply to you. I shall be much obliged therefore if you will inform me whether you choose to be concerned in it, what will be the expense of publishing it at the author’s risk, and what you will venture to advance for the property of it,° if on perusal it is approved of. Should you give any encouragement, I will send you the work.
‘I am, Sir, your humble Servant,
‘GEORGE AUSTEN.’
‘Steventon, near Overton, Hants,
‘1st Nov. 1797.’
This proposal was declined by return of post! The work thus summarily rejected must have been ‘Pride and Prejudice.’
The fate of ‘Northanger Abbey’ was still more humiliating. It was sold, in 1803, to a publisher in Bath,° for ten pounds, but it found so little favour in his eyes, that he chose to abide by his first loss rather than risk farther expense by publishing such a work. It seems to have lain for many years unnoticed in his drawers; somewhat as the first chapters of ‘Waverley’ lurked forgotten amongst the old fishing-tackle in Scott’s cabinet.° Tilneys, Thorpes, and Morlands consigned apparently to eternal oblivion! But when four novels of steadily increasing success had given the writer some confidence in herself, she wished to recover the copyright of this early work. One of her brothers° undertook the negotiation. He found the purchaser very willing to receive back his money, and to resign all claim to the copyright. When the bargain was concluded and the money paid, but not till then, the negotiator had the satisfaction of informing him that the work which had been so lightly esteemed was by the author of ‘Pride and Prejudice.’ I do not think that she was herself much mortified by the want of early success. She wrote for her own amusement. Money, though acceptable, was not necessary for the moderate expenses of her quiet home. Above all, she was blessed with a cheerful contented disposition, and an humble mind; and so lowly did she esteem her own claims, that when she received 150l. from the sale of ‘Sense and Sensibility,’ she considered it a prodigious recompense for that which had cost her nothing.° It cannot be supposed, however, that she was altogether insensible to the superiority of her own workmanship over that of some contemporaries who were then enjoying a brief popularity. Indeed a few touches in the following extracts from two of her letters° show that she was as quicksighted to absurdities in composition as to those in living persons.
‘Mr. C.’s opinion is gone down in my list;° but as my paper relates only to “Mansfield Park,” I may fortunately excuse myself from entering Mr. D’s. I will redeem my credit with him by writing a close imitation of “Self-Control,”° as soon as I can. I will improve upon it. My heroine shall not only be wafted down an American river in a boat by herself. She shall cross the Atlantic in the same way; and never stop till she reaches Gravesend.’
‘We have got “Rosanne” in our Society,° and find it much as you describe it; very good and clever, but tedious. Mrs. Hawkins’ great excellence is on serious subjects. There are some very delightful conversations and reflections on religion: but on lighter topics I think she falls into many absurdities; and, as to love, her heroine has very comical feelings. There are a thousand improbabilities in the story. Do you remember the two Miss Ormsdens introduced just at last? Very flat and unnatural. Madelle. Cossart is rather my passion.’
Two notices of her works appeared in the ‘Quarterly Review.’° One in October 1815, and another, more than three years after her death, in January 1821. The latter article is known to have been from the pen of Whately, afterwards Archbishop of Dublin.1 They differ much from each other in the degree of praise which they award, and I think also it may be said, in the ability with which they are written. The first bestows some approval, but the other expresses the warmest admiration. One can scarcely be satisfied with the critical acumen of the former writer, who, in treating of ‘Sense and Sensibility,’ takes no notice whatever of the vigour with which many of the characters are drawn, but declares that ‘the interest and merit of the piece depends altogether upon the behaviour of the elder sister!’ Nor is he fair when, in ‘Pride and Prejudice,’ he represents Elizabeth’s change of sentiments towards Darcy as caused by the sight of his house and grounds. But the chief discrepancy between the two reviewers is to be found in their appreciation of the commonplace and silly characters to be found in these novels. On this point the difference almost amounts to a contradiction, such as one sometimes sees drawn up in parallel columns, when it is desired to convict some writer or some statesman of inconsistency. The Reviewer, in 1815, says: ‘The faults of these works arise from the minute detail which the author’s plan comprehends. Characters of folly or simplicity, such as those of old Woodhouse and Miss Bates, are ridiculous when first presented, but if too often brought forward, or too long dwelt on, their prosing is apt to become as tiresome in fiction as in real society.’° The Reviewer, in 1821, on the contrary, singles out the fools as especial instances of the writer’s abilities, and declares that in this respect she shows a regard to character hardly exceeded by Shakspeare himself. These are his words: ‘Like him (Shakespeare) she shows as admirable a discrimination in the character of fools as of people of sense; a merit which is far from common. To invent indeed a conversation full of wisdom or of wit requires that the writer should himself possess ability; but the converse does not hold good, it is no fool that can describe fools well; and many who have succeeded pretty well in painting superior characters have failed in giving individuality to those weaker ones which it is necessary to introduce in order to give a faithful representation of real life: they exhibit to us mere folly in the abstract, forgetting that to the eye of the skilful naturalist the insects on a leaf present as wide differences as exist between the lion and the elephant. Slender, and Shallow, and Aguecheek, as Shakspeare has painted them, though equally fools, resemble one another no more than Richard, and Macbeth, and Julius Cæsar; and Miss Austen’s1 Mrs. Bennet, Mr. Rushworth, and Miss Bates are no more alike than her Darcy, Knightley, and Edmund Bertram. Some have complained indeed of finding her fools too much like nature, and consequently tiresome. There is no disputing about tastes; all we can say is, that such critics must (whatever deference they may outwardly pay to received opinions) find the “Merry Wives of Windsor” and “Twelfth Night” very tiresome; and that those who look with pleasure at Wilkie’s pictures,° or those of the Dutch school, must admit that excellence of imitation may confer attraction on that which would be insipid or disagreeable in the reality. Her minuteness of detail has also been found fault with; but even where it produces, at the time, a degree of tediousness, we know not whether that can justly be reckoned a blemish, which is absolutely essential to a very high excellence. Now it is absolutely impossible, without this, to produce that thorough acquaintance with the characters which is necessary to make the reader heartily interested in them. Let any one cut out from the “Iliad” or from Shakspeare’s plays everything (we are far from saying that either might not lose some parts with advantage, but let him reject everything) which is absolutely devoid of importance and interest in itself; and he will find that what is left will have lost more than half its charms. We are convinced that some writers have diminished the effect of their works by being scrupulous to admit nothing into them which had not some absolute and independent merit. They have acted like those who strip off the leaves of a fruit tree, as being of themselves good for nothing, with the view of securing more nourishment to the fruit, which in fact cannot attain its full maturity and flavour without them.’°
The world, I think, has endorsed
the opinion of the later writer; but it would not be fair to set down the discrepancy between the two entirely to the discredit of the former. The fact is that, in the course of the intervening five years, these works had been read and reread by many leaders in the literary world. The public taste was forming itself all this time, and ‘grew by what it fed on.’ These novels belong to a class which gain rather than lose by frequent perusals, and it is probable that each Reviewer represented fairly enough the prevailing opinions of readers in the year when each wrote.
Since that time, the testimonies in favour of Jane Austen’s works have been continual and almost unanimous. They are frequently referred to as models; nor have they lost their first distinction of being especially acceptable to minds of the highest order. I shall indulge myself by collecting into the next chapter instances of the homage paid to her by such persons.
CHAPTER IX
Opinions expressed by eminent persons—Opinions of others of less eminence—Opinion of American readers
INTO this list of the admirers of my Aunt’s works, I admit those only whose eminence will be universally acknowledged. No doubt the number might have been increased.
Southey, in a letter to Sir Egerton Brydges,° says: ‘You mention Miss Austen. Her novels are more true to nature, and have, for my sympathies, passages of finer feeling than any others of this age. She was a person of whom I have heard so well and think so highly, that I regret not having had an opportunity of testifying to her the respect which I felt for her.’
It may be observed that Southey had probably heard from his own family connections of the charm of her private character. A friend of hers, the daughter of Mr. Bigge Wither, of Manydown Park near Basingstoke, was married to Southey’s uncle, the Rev. Herbert Hill,° who had been useful to his nephew in many ways, and especially in supplying him with the means of attaining his extensive knowledge of Spanish and Portuguese literature. Mr. Hill had been Chaplain to the British Factory at Lisbon, where Southey visited him and had the use of a library in those languages which his uncle had collected. Southey himself continually mentions his uncle Hill in terms of respect and gratitude.
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