In a 1971 article, Ann Banfield writes, “If Mansfield is ‘modern, airy, and well-situated,’ the house at Sotherton, ‘built in Elizabeth’s time’ and ‘furnished in the taste of fifty years back,’ is ‘ill-placed,’ for ‘it stands in one . . . . Continue Reading »
In an article in Studies in English Literature (2004), Michael Karounos notes that “The meaning of ordination was not restricted in 1814 to the meaning of assuming a religious office, nor, indeed, was that its primary definition. A glance at the OED demonstrates that trees, animals, and ideas . . . . Continue Reading »
The violent are confined to the seventh circle of Dante’s hell, which is divided among those who commit violence against neighbors, against themselves, and against God. In the second category, those who commit violence against themselves, are not only suicides, but those who have . . . . Continue Reading »
JS Lawry says that Emma insults Miss Bates in an effort to liven up a dull party: “Like a virtuoso, she takes care that her art be equal to its occasions – but no more. Later, when a party seems dull, she will be brought to insult Miss Bates precisely because she cannot bear that those . . . . Continue Reading »
Rousseau is not the only source of sentimentality in novels, the literature of sensibility. There are English resources, such as the free prayer tradition, which made spontaneity the test of sincerity. But Rousseau is one of the sources of this stylistic strategy, and a source that Austen would . . . . Continue Reading »
Like Elizabeth Bennet, Emma Woodhouse’s desires for her man are awakened while exploring his property, Donwell Abbey with “all its appendages of prosperity and beauty, its rich pastures, spreading flocks, orchard in blossom, and light column of smoke ascending.” That this scene . . . . Continue Reading »
In his book, The Reign of Chivalry , Richard Barber gives a very fine summary of the courtly love tradition and the romantic tradition that it produced. I reproduce here only some of the main points of his discussion of the lyric love poetry of the troubadours. 1) Courtly love, Barber argues, is . . . . Continue Reading »
In Emma, as U. C. Knoepflmacher has pointed out, the writing of letters is an index of character. Writing letters is itself less manly and direct that face-to-face speech, and the kinds of letters one writes reveal the person. Frank is said to write long, “pretty” letters; Robert Martin . . . . Continue Reading »
PD James devotes a considerable amount of space to Austen in her autobiography, including biographical details about Austen and an appendix where she analyzes Emma as a “detective story.” She notes that detective stories don’t need to have murder, but only mystery: “facts . . . . Continue Reading »
As Claire Tomalin points out, Austen had two bursts of creativity during her lifetime. The first came in her early twenties, when she wrote the early versions of Northanger Abbey, Sense and Sensibility, and Pride and Prejudice within about a three year period from 1795-1798. None of these was . . . . Continue Reading »
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