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CMP#62 Shocking Compared to Whom?

7/27/2021

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Clutching My Pearls is my ongoing blog series about my take on Jane Austen’s beliefs and ideas, as based on her novels. Folks today who love Jane Austen are eager to find ways to acquit her of being a woman of the long 18th century.  Click here for the first post in the series.

CMP#62  Shocking Compared to Whom? 
You could not shock her more than she shocks me;
Beside her Joyce seems innocent as grass.
It makes me most 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.
​
​         -- from "letter to Lord Byron", by W.H. Auden
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PictureMany-tongued Rumour
​   “What is exceptional about Austen as a novelist is that she tells us exactly how much money each of her characters has.”
   So says an October 2020 ​New Yorker article, and who would dispute it? Mr. Darcy's entrance into the ballroom was followed by a "
report which was in general circulation within five minutes... of his having ten thousand a year." Everyone seems to know how much money everybody else has: Mr. Collins knows Elizabeth is only entitled to one thousand pounds in the four percents after her mother’s death. 
     A poem by W.H. Auden, quoted above, surmises that Austen might be shocked to meet Lord Byron in heaven, but she is herself shocking because she's so frank and unsentimental about "the economic basis of society." However, as I’ve come to realize, the statement: “Jane Austen’s novels are preoccupied with money” is incomplete and somewhat misleading. The statement should be, “Jane Austen’s novels, like most novels of her time, were preoccupied with money.”  There was nothing exceptional about it.
    Many, many, novels of this period include exact descriptions of incomes, expectations, disappointments, and inheritances, especially as they relate to someone’s ability to get married. You can literally pick any18th-century novel at random and find passages referring to these things. And, just as in Sense & Sensibility, the financial circumstances of the main characters are often laid out in the introductory passages. 
 Here is a sampling:  


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CMP#47    The Saucy Sidekick

5/12/2021

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Clutching My Pearls is about Jane Austen and the times she lived in. The opinions are mine, but I don't claim originality. Much has been written about Austen. Click here for the first in the series. 
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​“Well, well,” returned she, "we are not all of us born to equal honour. Some of us are to be set up for warnings, some for examples; and the first are generally of greater use to the world than the other."                                            -- Miss Charlotte Grandison, in Sir Charles Grandison

Stock Characters: The Saucy Sidekick: a warning, not an example
  In previous posts about 18th century stock characters, we looked at fools and fops, and the female pedant. The pedant has died out as a stock character, but the sidekick is going strong.  She's an essential component of romantic comedy. She serves as the confidante to the heroine, which is valuable for exposition (that is, explaining the plot without a narrator).​ She gives the heroine loving admonitions. She gets the comic lines and the heroine is the straight man. 
   In her early, 18th century incarnation, the sidekick is often in danger of upstaging the heroine, because she is livelier and funnier. The sidekick can say cutting things about the other characters in the novel, while the virtuous heroine can only say something very mild and forbearing. 
​   In Hollywood rom-coms, the wise-cracking sidekick is made less of a threat to the heroine because she is reliably plumper, plainer, or older than the heroine. Whatever her other characteristics, some traits are consistent -- she is devoted to the heroine, intensely interested in her doings, and always looking out for her interests.

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CMP#46   Stock Characters: The Female Pedant

5/9/2021

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Clutching My Pearls is about Jane Austen and the times she lived in. The opinions are mine, but I don't claim originality. Much has been written about Austen. Click here for the first in the series. 

“She was, what has often been described, but can never be too often held up to derision—a female pedant, a female politician, a smatterer in philosophy, a perpetual controvertist.”                                                            -- Clarentine (1796),  Sarah Burney
​
Stock Characters: Held Up To Derision
​     Pride & Prejudice pokes fun at a lot of people and a lot of things. It bubbles with the high spirits of its author. 
  We laugh at Mrs. Bennet but after all, she has every reason to be worried about the family's future.
   And what about poor, studious Mary, who is "
mortified by comparisons between her sisters’ beauty and her own"? 
   Some JAFF (Jane Austen fan fiction) authors have written novels centered around 
Mrs. Bennet or Mary Bennet; stories which treat them with insight and sympathy. For many readers, Mr. Bennet's insouciance about his family's financial future is harder to defend than Mrs. Bennet's anxiety. And it isn't Mary's fault that she's plain, that she occupies the unfortunate position of the middle child. 
  We may regard Mary Bennet charitably today but Elizabeth never gives her the time of day and there's no indication that she's ever invited to Pemberley. Why does Mary get this callous treatment? 

    Mary is a variation on a stock character of the Georgian and Regency period, the female pedant. (Let me pedantically explain that a pedant is someone who has, or who believes they have, superior knowledge and who likes to lecture or debate others. ("Well, ACKshually...."))
    The author Henry MacKenzie (1745-1831) remarked "The character of a female pedant, from Fielding downward, has been applauded in the closet [that is, in private reading] and on the stage..."
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Instead of using the term "bluestockings," and besmirching the fair name of women intellectuals who did receive respect and fame in Georgian Britain, I will use the term used in the novels, "female pedant." The ladies portrayed above are: "Anna Letitia Barbauld (1743–1825), poet and writer; Elizabeth Carter (1717–1806), scholar and writer; Elizabeth Griffith (1727–1793), playwright and novelist; Angelica Kauffmann (1741–1807), painter; Charlotte Lennox (1720–1804), writer; Catharine Macaulay (1731–1791), historian and political polemicist; Elizabeth Montagu; Hannah More (1745–1833), religious writer; Elizabeth Ann Sheridan (née Linley)," singer and writer. More about the Bluestockings in this BBC "In Our Time" podcast.

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CMP#45   Your Mother Cannot Spare You

5/5/2021

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Clutching My Pearls is about Jane Austen and the times she lived in. The opinions are mine, but I don't claim originality. Much has been written about Austen. Click here for the first in the series.

In an earlier post I mentioned the faultless behaviour of Adela, a "picture of perfection," who was as dutiful as possible toward both of her unworthy parents. This Mother's Day edition will look at some mother-child interactions, and I'll return to the topic for Father's Day to look at some famous fathers.  ​
​
Implicit Values in Austen: A Duty to Parents: Special Mother's Day Edition
PictureWilliam, Mrs. Price, Betsey, and Fanny in Portsmouth
     “Oh, that my dear mother had more command over herself!” Jane Bennet gently expostulates to her sister Elizabeth. “She can have no idea of the pain she gives me by her continual reflections on [Jane’s lost suitor Mr. Bingley].”
    Austen supplies most of her heroines with very deficient parents. We are left in no doubt about the faults of the vulgar Mrs. Bennet and Fanny Price’s mother in Portsmouth. Nevertheless, the heroines bear patiently with them to a remarkable degree.  If Jane ever asks Mom directly to please please please stop talking about Bingley, we don’t hear about it. There are no scenes where heroines talk back at their parents or complain about them to anyone outside the family.

     As Historian Rory Muir explains, “In theory, children were expected to respect, honour and obey their parents, and while the reality was always more complicated and human than such doctrines suggest, a much greater degree of deference was actually exacted than is common today. Society frowned on children – even adult children – who openly quarreled with their parents." So naturally, when 18th century authors wrote moral tales featuring a heroine who was a "picture of perfection," the author could make the heroine an orphan, as many were, or else the heroine ought to behave in an exemplary fashion toward her parents.     


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    More about me here. My earlier posts (prior to June 2017) are about my time as a teacher of ESL in China,(just click on "China" in the menu below.) more recent posts focus on my writing, as well as Jane Austen and the long 18th century. Welcome!


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