What They Said About Her: Henry Austen

This is what Jane's favourite brother Henry wrote about her, in his "Biographical Notice of the Author", which accompanied the posthumously published (1818) Northanger Abbey and Persuasion.

"Of personal attractions she possessed a considerable share. Her stature was that of true elegance. It could not have been increased without exceeding the middle height. Her carriage and deportment were quiet, yet graceful. Her features were separately good. Their assemblage produced an unrivalled expression of that cheerfulness, sensibility, and benevolence, which were her real characteristics. Her complexion was of the finest texture. It might with truth be said, that her eloquent blood spoke through her modest cheek. Her voice was extremely sweet. She delivered herself with fluency and precision. Indeed she was formed for elegant and rational society, excelling in conversation as much as in composition."

It has been noted that part of Henry's description - "her eloquent blood spoke through her modest cheek" - owes a debt to the poet John Donne, and consequently to Henry Fielding, who employed the same passage in Tom Jones (see my earlier post on this blog: Jane Austen & "Sophia Sentiment").

However, in the same Biographical Notice, Henry (at left) also avows that his sister had her reservations about Fielding. This latter assertion needs to be taken with a large grain of salt, considering the references in Jane's letters and the themes and character names used by her that also appear in Tom Jones. (A few of these have been pointed out by Jon Spence in Becoming Jane Austen, although a diligent reader will discover plenty more that he did not specifically note.)

Re-reading the famous Tom Lefroy white coat reference will reveal that the similarity to Jones is one envisaged by Jane Austen, not one that Lefroy himself professed or was necessarily aware of. "He is a very great admirer of Tom Jones, and therefore wears the same coloured clothes, I imagine, which he did when he was wounded." (Jane to Cassandra, 9 January 1796, emphasis in bold added).


Henry Austen's tribute to his deceased sister can therefore be considered the first of many attempts by her relatives to whitewash her image, whereby the sharp and witty Jane Austen becomes transformed into that sanctimonious creature, Saint Jane. Personally, this blogger much prefers the Jane whose halo is just ever so slightly askew!

Voluptuous Trees & Sexy Shrubbery

As Martin Amis has pointed out (see quote near the header of this blog), the Freudians can have, and have had, a field day with Jane Austen's fiction. Darryl Jones, who himself may or may not subscribe to the Freudian school of thought, has had a great deal of fun with Catherine Morland's exploration of the cabinet and its "cavity of importance" and "place in the middle" alone in her room at night in Northanger Abbey.

But this is not all - what do we make of all the carry-on in Mansfield Park (Chapter 10) concerning gardens and locked gates and Miss Bertram escaping with Henry Crawford into the wilderness beyond, with its oak-covered knoll? Or this deliciously suggestive passage in Chapter 46, where Fanny's

"...eye fell everywhere on lawns and plantations of the freshest green; and the trees, though not fully clothed, were in that delightful state, where farther beauty is known to be at hand, and when, while much is actually given to the sight, more yet remains for the imagination."

Or indeed, is there anything remotely Freudian in Emma in Mr Knightley's encounter with Emma Woodhouse in the garden? "He had followed her into the shrubbery with no idea of trying it."

Or is this blogger just imagining it?

Reference:
Daryl Jones Critical Issues: Jane Austen Palgrave Macmillan 2004

More Austen movie adaptations

Good old Aunty ABC is continuing to screen a whole series of British Jane Austen movie adaptations, some old and some new, although sometimes one is reminded of the advice, which I think was in an article somewhere on the Republic of Pemberley (or perhaps it was JASNA?) - when trying to do an Austen adaptation, there is one main rule - DON'T!!

And so a couple of weeks ago, we saw Persuasion, which on the whole wasn't bad, although Rupert Penry-Jones was much too fair of complexion to be playing a weather-beaten navy Captain, and the whole thing was all a tad Gothic in tone. Anne Elliot's nervy, hypochondriac sister was an absolute delight, however.

Last week, we saw the latest (2007) version of Northanger Abbey, which to my taste was nowhere near Gothic enough, or at least not as Gothic as the 1986 BBC production. However, the actor who played John Thorpe was suitably villainous.

If only we could extract bits of one adaptation and merge them with bits of another, perhaps we might get an adaptation that approaches satisfactory. The BBC's TV series of Pride and Prejudice still seems to be the benchmark for Austen adaptations (that is to say, the "straight" ones that follow the novels more or less faithfully).