183- ] English Literature
Jane Austen
Literary
Career
Jane
Austen’s lively and affectionate family circle provided a stimulating context
for her writing. Moreover, her experience was carried far beyond Steventon
rectory by an extensive network of relationships by blood and friendship. It
was this world—of the minor landed gentry and the country clergy, in the
village, the neighbourhood, and the country town, with occasional visits to
Bath and to London—that she was to use in the settings, characters, and subject
matter of her novels.
Her
earliest known writings date from about 1787, and between then and 1793 she
wrote a large body of material that has survived in three manuscript notebooks:
Volume the First, Volume the Second, and Volume the Third. These contain plays,
verses, short novels, and other prose and show Austen engaged in the parody of
existing literary forms, notably the genres of the sentimental novel and
sentimental comedy. Her passage to a more serious view of life from the
exuberant high spirits and extravagances of her earliest writings is evident in
Lady Susan, a short epistolary novel written about 1793–94 (and not published
until 1871). This portrait of a woman bent on the exercise of her own powerful
mind and personality to the point of social self-destruction is, in effect, a
study of frustration and of woman’s fate in a society that has no use for her talents.
In
1802 it seems likely that Jane agreed to marry Harris Bigg-Wither, the
21-year-old heir of a Hampshire family, but the next morning changed her mind.
There are also a number of mutually contradictory stories connecting her with
someone with whom she fell in love but who died very soon after. Since Austen’s
novels are so deeply concerned with love and marriage, there is some point in
attempting to establish the facts of these relationships. Unfortunately, the
evidence is unsatisfactory and incomplete. Cassandra was a jealous guardian of
her sister’s private life, and after Jane’s death she censored the surviving
letters, destroying many and cutting up others. But Jane Austen’s own novels
provide indisputable evidence that their author understood the experience of
love and of love disappointed.
The
earliest of her novels published during her lifetime, Sense and Sensibility,
was begun about 1795 as a novel-in-letters called “Elinor and Marianne,” after
its heroines. Between October 1796 and August 1797 Austen completed the first
version of Pride and Prejudice, then called “First Impressions.” In 1797 her
father wrote to offer it to a London publisher for publication, but the offer
was declined. Northanger Abbey, the last of the early novels, was written about
1798 or 1799, probably under the title “Susan.” In 1803 the manuscript of
“Susan” was sold to the publisher Richard Crosby for £10. He took it for
immediate publication, but, although it was advertised, unaccountably it never
appeared.
Up
to this time the tenor of life at Steventon rectory had been propitious for
Jane Austen’s growth as a novelist. This stable environment ended in 1801,
however, when George Austen, then age 70, retired to Bath with his wife and
daughters. For eight years Jane had to put up with a succession of temporary
lodgings or visits to relatives, in Bath, London, Clifton, Warwickshire, and,
finally, Southampton, where the three women lived from 1805 to 1809. In 1804
Jane began The Watsons but soon abandoned it. In 1804 her dearest friend, Mrs.
Anne Lefroy, died suddenly, and in January 1805 her father died in Bath.
Eventually,
in 1809, Jane’s brother Edward was able to provide his mother and sisters with
a large cottage in the village of Chawton, within his Hampshire estate, not far
from Steventon. The prospect of settling at Chawton had already given Jane
Austen a renewed sense of purpose, and she began to prepare Sense and
Sensibility and Pride and Prejudice for publication. She was encouraged by her
brother Henry, who acted as go-between with her publishers. She was probably
also prompted by her need for money. Two years later Thomas Egerton agreed to
publish Sense and Sensibility, which came out, anonymously, in November 1811.
Both of the leading reviews, the Critical Review and the Quarterly Review,
welcomed its blend of instruction and amusement.
Meanwhile,
in 1811 Austen had begun Mansfield Park, which was finished in 1813 and
published in 1814. By then she was an established (though anonymous) author;
Egerton had published Pride and Prejudice in January 1813, and later that year
there were second editions of Pride and Prejudice and Sense and Sensibility.
Pride and Prejudice seems to have been the fashionable novel of its season.
Between January 1814 and March 1815 she wrote Emma, which appeared in December
1815. In 1816 there was a second edition of Mansfield Park, published, like
Emma, by Lord Byron’s publisher, John Murray. Persuasion (written August
1815–August 1816) was published posthumously, with Northanger Abbey, in December
1817.
The
years after 1811 seem to have been the most rewarding of her life. She had the
satisfaction of seeing her work in print and well reviewed and of knowing that
the novels were widely read. They were so much enjoyed by the prince regent
(later George IV) that he had a set in each of his residences, and Emma, at a
discreet royal command, was “respectfully dedicated” to him. The reviewers
praised the novels for their morality and entertainment, admired the character
drawing, and welcomed the domestic realism as a refreshing change from the
romantic melodrama then in vogue.
For
the last 18 months of her life, Austen was busy writing. Early in 1816, at the
onset of her fatal illness, she set down the burlesque Plan of a Novel,
According to Hints from Various Quarters (first published in 1871). Until
August 1816 she was occupied with Persuasion, and she looked again at the
manuscript of “Susan” (Northanger Abbey).
In
January 1817 she began Sanditon, a robust and self-mocking satire on health
resorts and invalidism. This novel remained unfinished because of Austen’s
declining health. She supposed that she was suffering from bile, but the
symptoms make possible a modern clinical assessment that she was suffering from
Addison disease. Her condition fluctuated, but in April she made her will, and
in May she was taken to Winchester to be under the care of an expert surgeon.
She died on July 18, and six days later she was buried in Winchester Cathedral.
Her
authorship was announced to the world at large by her brother Henry, who
supervised the publication of Northanger Abbey and Persuasion. There was no
recognition at the time that regency England had lost its keenest observer and
sharpest analyst; no understanding that a miniaturist (as she maintained that she
was and as she was then seen), a “merely domestic” novelist, could be seriously
concerned with the nature of society and the quality of its culture; no grasp
of Jane Austen as a historian of the emergence of regency society into the
modern world. During her lifetime there had been a solitary response in any way
adequate to the nature of her achievement: Sir Walter Scott’s review of Emma in
the Quarterly Review for March 1816, where he hailed this “nameless author” as
a masterful exponent of “the modern novel” in the new realist tradition. After
her death, there was for long only one significant essay, the review of
Northanger Abbey and Persuasion in the Quarterly for January 1821 by the
theologian Richard Whately. Together, Scott’s and Whately’s essays provided the
foundation for serious criticism of Jane Austen: their insights were
appropriated by critics throughout the 19th century.
Juvenilia
(1787–1793)
From
at least the time she was aged eleven, Austen wrote poems and stories to amuse
herself and her family. She exaggerated mundane details of daily life and
parodied common plot devices in "stories [] full of anarchic fantasies of
female power, licence, illicit behaviour, and general high spirits",
according to Janet Todd. Containing work written between 1787 and 1793, the
juvenilia (or childhood writings) that Austen compiled fair copies consisted of
twenty-nine early works into three bound notebooks, now referred to as the
Juvenilia. She called the three notebooks "Volume the First",
"Volume the Second" and "Volume the Third", and they
preserve 90,000 words she wrote during those years. The Juvenilia are often,
according to scholar Richard Jenkyns, "boisterous" and
"anarchic"; he compares them to the work of 18th-century novelist
Laurence Sterne.
Among
these works is a satirical novel in letters titled Love and Freindship [sic],
written when aged fourteen in 1790, in which she mocked popular novels of sensibility.
The next year, she wrote The History of England, a manuscript of thirty-four
pages accompanied by thirteen watercolour miniatures by her sister, Cassandra.
Austen's History parodied popular historical writing, particularly Oliver
Goldsmith's History of England (1764). Honan speculates that not long after
writing Love and Freindship, Austen decided to "write for profit, to make
stories her central effort", that is, to become a professional writer.
When she was around eighteen years old, Austen began to write longer, more
sophisticated works.
In
August 1792, aged seventeen, Austen started Catharine or the Bower, which
presaged her mature work, especially Northanger Abbey, but was left unfinished
until picked up in Lady Susan, which Todd describes as less prefiguring than
Catharine. A year later she began, but abandoned, a short play, later titled
Sir Charles Grandison or the happy Man, a comedy in 6 acts, which she returned
to and completed around 1800. This was a short parody of various school textbook
abridgements of Austen's favourite contemporary novel, The History of Sir
Charles Grandison (1753), by Samuel Richardson.
When
Austen became an aunt for the first time aged eighteen, she sent new-born niece
Fanny-Catherine Austen-Knight "five short pieces of ... the Juvenilia now
known collectively as 'Scraps' .., purporting to be her 'Opinions and
Admonitions on the conduct of Young Women'". For Jane-Anna-Elizabeth
Austen (also born in 1793), her aunt wrote "two more 'Miscellanious [sic]
Morsels', dedicating them to [Anna] on 2 June 1793, 'convinced that if you
seriously attend to them, You will derive from them very important
Instructions, with regard to your Conduct in Life.'" There is manuscript
evidence that Austen continued to work on these pieces as late as 1811 (when
she was 36), and that her niece and nephew, Anna and James Edward Austen, made
further additions as late as 1814.
Between
1793 and 1795 (aged eighteen to twenty), Austen wrote Lady Susan, a short
epistolary novel, usually described as her most ambitious and sophisticated
early work. It is unlike any of Austen's other works. Austen biographer Claire
Tomalin describes the novella's heroine as a sexual predator who uses her
intelligence and charm to manipulate, betray and abuse her lovers, friends and
family. Tomalin writes:
Told
in letters, it is as neatly plotted as a play, and as cynical in tone as any of
the most outrageous of the Restoration dramatists who may have provided some of
her inspiration ... It stands alone in Austen's work as a study of an adult
woman whose intelligence and force of character are greater than those of
anyone she encounters.
According
to Janet Todd, the model for the title character may have been Eliza de
Feuillide, who inspired Austen with stories of her glamorous life and various
adventures. Eliza's French husband was guillotined in 1794; she married Jane's
brother Henry Austen in 1797.
Tom
Lefroy
When
Austen was twenty, Tom Lefroy, a neighbour, visited Steventon from December
1795 to January 1796. He had just finished a university degree and was moving
to London for training as a barrister. Lefroy and Austen would have been
introduced at a ball or other neighbourhood social gathering, and it is clear
from Austen's letters to Cassandra that they spent considerable time together:
"I am almost afraid to tell you how my Irish friend and I behaved. Imagine
to yourself everything most profligate and shocking in the way of dancing and
sitting down together."
Austen
wrote in her first surviving letter to her sister Cassandra that Lefroy was a
"very gentlemanlike, good-looking, pleasant young man". Five days
later in another letter, Austen wrote that she expected an "offer"
from her "friend" and that "I shall refuse him, however, unless
he promises to give away his white coat", going on to write "I will
confide myself in the future to Mr Tom Lefroy, for whom I don't give a
sixpence" and refuse all others. The next day, Austen wrote: "The day
will come on which I flirt my last with Tom Lefroy and when you receive this it
will be all over. My tears flow as I write at this melancholy idea".
Halperin
cautioned that Austen often satirised popular sentimental romantic fiction in
her letters, and some of the statements about Lefroy may have been ironic.
However, it is clear that Austen was genuinely attracted to Lefroy and
subsequently none of her other suitors ever quite measured up to him. The
Lefroy family intervened and sent him away at the end of January. Marriage was
impractical as both Lefroy and Austen must have known. Neither had any money ,
and he was dependent on a great-uncle in Ireland to finance his education and
establish his legal career. If Tom Lefroy later visited Hampshire, he was
carefully kept away from the Austens, and Jane Austen never saw him again. In
November 1798, Lefroy was still on Austen's mind as she wrote to her sister she
had tea with one of his relatives, wanted desperately to ask about him, but
could not bring herself to raise the subject.
Early
manuscripts (1796–1798)
After
finishing Lady Susan, Austen began her first full-length novel Elinor and
Marianne. Her sister remembered that it was read to the family "before
1796" and was told through a series of letters. Without surviving original
manuscripts, there is no way to know how much of the original draft survived in
the novel published anonymously in 1811 as Sense and Sensibility.
Austen
began a second novel, First Impressions (later published as Pride and
Prejudice), in 1796. She completed the initial draft in August 1797, aged 21;
as with all of her novels, Austen read the work aloud to her family as she was
working on it and it became an "established favourite". At this time,
her father made the first attempt to publish one of her novels. In November
1797, George Austen wrote to Thomas Cadell, an established publisher in London,
to ask if he would consider publishing First Impressions. Cadell returned Mr.
Austen's letter, marking it "Declined by Return of Post". Austen may
not have known of her father's efforts. Following the completion of First
Impressions, Austen returned to Elinor and Marianne and from November 1797
until mid-1798, revised it heavily; she eliminated the epistolary format in
favour of third-person narration and produced something close to Sense and
Sensibility. In 1797, Austen met her cousin (and future sister-in-law), Eliza
de Feuillide, a French aristocrat whose first husband the Comte de Feuillide
had been guillotined, causing her to flee to Britain, where she married Henry
Austen. The description of the execution of the Comte de Feuillide related by
his widow left Austen with an intense horror of the French Revolution that
lasted for the rest of her life.
During
the middle of 1798, after finishing revisions of Elinor and Marianne, Austen
began writing a third novel with the working title Susan—later Northanger
Abbey—a satire on the popular Gothic novel. Austen completed her work about a
year later. In early 1803, Henry Austen offered Susan to Benjamin Crosby, a
London publisher, who paid £10 for the copyright. Crosby promised early
publication and went so far as to advertise the book publicly as being "in
the press", but did nothing more. The manuscript remained in Crosby's
hands, unpublished, until Austen repurchased the copyright from him in 1816.
Bath
and Southampton
In
December 1800, George Austen unexpectedly announced his decision to retire from
the ministry, leave Steventon, and move the family to 4, Sydney Place in Bath,
Somerset. While retirement and travel were good for the elder Austens, Jane
Austen was shocked to be told she was moving 50 miles (80 km) away from the
only home she had ever known. An indication of her state of mind is her lack of
productivity as a writer during the time she lived in Bath. She was able to
make some revisions to Susan, and she began and then abandoned a new novel, The
Watsons, but there was nothing like the productivity of the years 1795–1799.
Tomalin suggests this reflects a deep depression disabling her as a writer, but
Honan disagrees, arguing Austen wrote or revised her manuscripts throughout her
creative life, except for a few months after her father died. It is often
claimed that Austen was unhappy in Bath, which caused her to lose interest in
writing, but it is just as possible that Austen's social life in Bath prevented
her from spending much time writing novels. The critic Robert Irvine argued
that if Austen spent more time writing novels when she was in the countryside,
it might just have been because she had more spare time as opposed to being
more happy in the countryside as is often argued. Furthermore, Austen
frequently both moved and travelled over southern England during this period,
which was hardly a conducive environment for writing a long novel. Austen sold
the rights to publish Susan to a publisher Crosby & Company, who paid her
£10 (equivalent to £860 in 2021). The Crosby & Company advertised Susan,
but never published it.
The
years from 1801 to 1804 are something of a blank space for Austen scholars as
Cassandra destroyed all of her letters from her sister in this period for
unknown reasons. In December 1802, Austen received her only known proposal of
marriage. She and her sister visited Alethea and Catherine Bigg, old friends
who lived near Basingstoke. Their younger brother, Harris Bigg-Wither, had
recently finished his education at Oxford and was also at home. Bigg-Wither
proposed and Austen accepted. As described by Caroline Austen, Jane's niece,
and Reginald Bigg-Wither, a descendant, Harris was not attractive—he was a
large, plain-looking man who spoke little, stuttered when he did speak, was
aggressive in conversation, and almost completely tactless. However, Austen had
known him since both were young and the marriage offered many practical
advantages to Austen and her family. He was the heir to extensive family estates
located in the area where the sisters had grown up. With these resources,
Austen could provide her parents a comfortable old age , give Cassandra a
permanent home and, perhaps, assist her brothers in their careers. By the next
morning, Austen realised she had made a mistake and withdrew her acceptance. No
contemporary letters or diaries describe how Austen felt about this proposal.
Irvine described Bigg-Wither as somebody who "...seems to have been a man
very hard to like, let alone love".
In
1814, Austen wrote a letter to her niece Fanny Knight, who had asked for advice
about a serious relationship, telling her that "having written so much on
one side of the question, I shall now turn around & entreat you not to
commit yourself farther, & not to think of accepting him unless you really
do like him. Anything is to be preferred or endured rather than marrying
without Affection". The English scholar Douglas Bush wrote that Austen had
"had a very high ideal of the love that should unite a husband and wife
... All of her heroines ... know in proportion to their maturity, the meaning
of ardent love". A possible autobiographical element in Sense and
Sensibility occurs when Elinor Dashwood contemplates "the worse and most
irremediable of all evils, a connection for life" with an unsuitable man.
In
1804, while living in Bath, Austen started, but did not complete, her novel The
Watsons. The story centres on an invalid and impoverished clergyman and his
four unmarried daughters. Sutherland describes the novel as "a study in
the harsh economic realities of dependent women's lives". Honan suggests,
and Tomalin agrees, that Austen chose to stop work on the novel after her
father died on 21 January 1805 and her personal circumstances resembled those
of her characters too closely for her comfort.
Her
father's relatively sudden death left Jane, Cassandra, and their mother in a
precarious financial situation. Edward, James, Henry, and Francis Austen (known
as Frank) pledged to make annual contributions to support their mother and
sisters. For the next four years, the family's living arrangements reflected
their financial insecurity. They spent part of the time in rented quarters in
Bath before leaving the city in June 1805 for a family visit to Steventon and
Godmersham. They moved for the autumn months to the newly fashionable seaside
resort of Worthing, on the Sussex coast, where they resided at Stanford
Cottage. It was here that Austen is thought to have written her fair copy of
Lady Susan and added its "Conclusion". In 1806, the family moved to
Southampton, where they shared a house with Frank Austen and his new wife. A
large part of this time they spent visiting various branches of the family.
On
5 April 1809, about three months before the family's move to Chawton, Austen
wrote an angry letter to Richard Crosby, offering him a new manuscript of Susan
if needed to secure the immediate publication of the novel, and requesting the
return of the original so she could find another publisher. Crosby replied that
he had not agreed to publish the book by any particular time, or at all, and
that Austen could repurchase the manuscript for the £10 he had paid her and
find another publisher. She did not have the resources to buy the copyright
back at that time, but was able to purchase it in 1816.
Chawton
Around
early 1809, Austen's brother Edward offered his mother and sisters a more
settled life—the use of a large cottage in Chawton village which was part of
the estate around Edward's nearby property Chawton House. Jane, Cassandra and
their mother moved into Chawton cottage on 7 July 1809. Life was quieter in
Chawton than it had been since the family's move to Bath in 1800. The Austens
did not socialise with gentry and entertained only when family visited. Her
niece Anna described the family's life in Chawton as "a very quiet life,
according to our ideas, but they were great readers, and besides the
housekeeping our aunts occupied themselves in working with the poor and in
teaching some girl or boy to read or write."
Published
author
Further
information: Styles and themes of Jane Austen
Like
many women authors at the time, Austen published her books anonymously. At the
time, the ideal roles for a woman were as wife and mother, and writing for
women was regarded at best as a secondary form of activity; a woman who wished
to be a full-time writer was felt to be degrading her femininity, so books by
women were usually published anonymously in order to maintain the conceit that
the female writer was only publishing as a sort of part-time job, and was not
seeking to become a "literary lioness" (i.e. a celebrity).
During
her time at Chawton, Austen published four generally well-received novels.
Through her brother Henry, the publisher Thomas Egerton agreed to publish Sense
and Sensibility, which, like all of Austen's novels except Pride and Prejudice,
was published "on commission", that is, at the author's financial
risk. When publishing on commission, publishers would advance the costs of
publication, repay themselves as books were sold and then charge a 10%
commission for each book sold, paying the rest to the author. If a novel did
not recover its costs through sales, the author was responsible for them. The
alternative to selling via commission was by selling the copyright, where an
author received a one-time payment from the publisher for the manuscript, which
occurred with Pride and Prejudice. Austen's experience with Susan (the
manuscript that became Northanger Abbey) where she sold the copyright to the
publisher Crosby & Sons for £10, who did not publish the book, forcing her
to buy back the copyright in order to get her work published, left Austen leery
of this method of publishing. The final alternative, of selling by
subscription, where a group of people would agree to buy a book in advance, was
not an option for Austen as only authors who were well known or had an
influential aristocratic patron who would recommend an up-coming book to their
friends, could sell by subscription. Sense and Sensibility appeared in October
1811, and was described as being written "By a Lady". As it was sold
on commission, Egerton used expensive paper and set the price at 15 shillings
(equivalent to £58 in 2021).
Reviews
were favourable and the novel became fashionable among young aristocratic
opinion-makers; the edition sold out by mid-1813. Austen's novels were
published in larger editions than was normal for this period. The small size of
the novel-reading public and the large costs associated with hand production
(particularly the cost of handmade paper) meant that most novels were published
in editions of 500 copies or fewer to reduce the risks to the publisher and the
novelist. Even some of the most successful titles during this period were
issued in editions of not more than 750 or 800 copies and later reprinted if
demand continued. Austen's novels were published in larger editions, ranging
from about 750 copies of Sense and Sensibility to about 2,000 copies of Emma.
It is not clear whether the decision to print more copies than usual of Austen's
novels was driven by the publishers or the author. Since all but one of
Austen's books were originally published "on commission", the risks
of overproduction were largely hers (or Cassandra's after her death) and
publishers may have been more willing to produce larger editions than was
normal practice when their own funds were at risk. Editions of popular works of
non-fiction were often much larger.
Austen
made £140 (equivalent to £10,800 in 2021) from Sense and Sensibility, which
provided her with some financial and psychological independence. After the
success of Sense and Sensibility, all of Austen's subsequent books were billed
as written "By the author of Sense and Sensibility" and Austen's name
never appeared on her books during her lifetime. Egerton then published Pride
and Prejudice, a revision of First Impressions, in January 1813. Austen sold
the copyright to Pride and Prejudice to Egerton for £110 (equivalent to £7,600
in 2021). To maximise profits, he used cheap paper and set the price at 18
shillings (equivalent to £62 in 2021). He advertised the book widely and it was
an immediate success, garnering three favourable reviews and selling well. Had
Austen sold Pride and Prejudice on commission, she would have made a profit of
£475, or twice her father's annual income. By October 1813, Egerton was able to
begin selling a second edition. Mansfield Park was published by Egerton in May
1814. While Mansfield Park was ignored by reviewers, it was very popular with
readers. All copies were sold within six months, and Austen's earnings on this
novel were larger than for any of her other novels.
Without
Austen's knowledge or approval, her novels were translated into French and
published in cheaply produced, pirated editions in France. The literary critic
Noel King commented in 1953 that, given the prevailing rage in France at the
time for lush romantic fantasies, it was remarkable that her novels with the
emphasis on everyday English life had any sort of a market in France. King
cautioned that Austen's chief translator in France, Madame Isabelle de
Montolieu, had only the most rudimentary knowledge of English, and her
translations were more of "imitations" than translations proper, as
Montolieu depended upon assistants to provide a summary, which she then
translated into an embellished French that often radically altered Austen's
plots and characters. The first of the Austen novels to be published that
credited her as the author was in France, when Persuasion was published in 1821
as La Famille Elliot ou L'Ancienne Inclination.
Austen
learned that the Prince Regent admired her novels and kept a set at each of his
residences. In November 1815, the Prince Regent's librarian James Stanier
Clarke invited Austen to visit the Prince's London residence and hinted Austen
should dedicate the forthcoming Emma to the Prince. Though Austen disapproved
of the Prince Regent, she could scarcely refuse the request. Austen disapproved
of the Prince Regent on the account of his womanising, gambling, drinking,
spendthrift ways and generally disreputable behaviour. She later wrote Plan of
a Novel, according to Hints from Various Quarters, a satiric outline of the
"perfect novel" based on the librarian's many suggestions for a
future Austen novel. Austen was greatly annoyed by Clarke's often pompous
literary advice, and the Plan of a Novel parodying Clarke was intended as her
revenge for all of the unwanted letters she had received from the royal
librarian.
In
mid-1815 Austen moved her work from Egerton to John Murray, a better known
London publisher, who published Emma in December 1815 and a second edition of
Mansfield Park in February 1816. Emma sold well, but the new edition of
Mansfield Park did poorly, and this failure offset most of the income from
Emma. These were the last of Austen's novels to be published during her
lifetime.
While
Murray prepared Emma for publication, Austen began The Elliots, later published
as Persuasion. She completed her first draft in July 1816. In addition, shortly
after the publication of Emma, Henry Austen repurchased the copyright for Susan
from Crosby. Austen was forced to postpone publishing either of these completed
novels by family financial troubles. Henry Austen's bank failed in March 1816,
depriving him of all of his assets, leaving him deeply in debt and costing
Edward, James, and Frank Austen large sums. Henry and Frank could no longer
afford the contributions they had made to support their mother and sisters.
Illness
and death
Austen
was feeling unwell by early 1816, but ignored the warning signs. By the middle
of that year, her decline was unmistakable, and she began a slow, irregular
deterioration. The majority of biographers rely on Zachary Cope's 1964
retrospective diagnosis and list her cause of death as Addison's disease, although
her final illness has also been described as resulting from Hodgkin's lymphoma.
When her uncle died and left his entire fortune to his wife, effectively
disinheriting his relatives, she suffered a relapse, writing: "I am
ashamed to say that the shock of my Uncle's Will brought on a relapse ... but a
weak Body must excuse weak Nerves."
Austen
continued to work in spite of her illness. Dissatisfied with the ending of The
Elliots, she rewrote the final two chapters, which she finished on 6 August
1816. In January 1817, Austen began The Brothers (titled Sanditon when
published in 1925), completing twelve chapters before stopping work in
mid-March 1817, probably due to illness. Todd describes Sanditon's heroine,
Diana Parker, as an "energetic invalid". In the novel Austen mocked
hypochondriacs, and although she describes the heroine as "bilious",
five days after abandoning the novel she wrote of herself that she was turning
"every wrong colour" and living "chiefly on the sofa". She
put down her pen on 18 March 1817, making a note of it.
Austen
made light of her condition, describing it as "bile" and rheumatism.
As her illness progressed, she experienced difficulty walking and lacked
energy; by mid-April she was confined to bed. In May, Cassandra and Henry brought
her to Winchester for treatment, by which time she suffered agonising pain and
welcomed death. Austen died in Winchester on 18 July 1817 at the age of 41.
Henry, through his clerical connections, arranged for his sister to be buried
in the north aisle of the nave of Winchester Cathedral. The epitaph composed by
her brother James praises Austen's personal qualities, expresses hope for her
salvation and mentions the "extraordinary endowments of her mind",
but does not explicitly mention her achievements as a writer.
Posthumous
publication
In
the months after Austen's death in July 1817, Cassandra, Henry Austen and
Murray arranged for the publication of Persuasion and Northanger Abbey as a
set. Henry Austen contributed a Biographical Note dated December 1817, which
for the first time identified his sister as the author of the novels. Tomalin
describes it as "a loving and polished eulogy". Sales were good for a
year—only 321 copies remained unsold at the end of 1818.
Although
Austen's six novels were out of print in England in the 1820s, they were still
being read through copies housed in private libraries and circulating
libraries. Austen had early admirers. The first piece of fiction using her as a
character (what might now be called real person fiction) appeared in 1823 in a
letter to the editor in The Lady's Magazine. It refers to Austen's genius and
suggests that aspiring authors were envious of her powers.
In
1832, Richard Bentley purchased the remaining copyrights to all of her novels,
and over the following winter published five illustrated volumes as part of his
Standard Novels series. In October 1833, Bentley released the first collected
edition of her works. Since then, Austen's novels have been continuously in
print.]
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