_reclined in an elegant attitude on a sofa fast asleep._
_Enter_ Col. ELLIOTT.
_Col. E._ My daughter is not here, I see. There lies Sir Edward. Shall I
tell him the secret? No, he'll certainly blab it. But he's asleep, and
won't hear me, so I'll e'en venture. (_Goes up to_ Sir EDWARD, _whispers
him, and exit._)
_End of the First Act. Finis._
* * * * *
A somewhat later venture, pure extravaganza, called _Evelyn_ is
dedicated, by permission, to Miss Mary Lloyd.
The manuscript volume which contains _Evelyn_ is grandly entitled on the
outside 'Volume the Third'; on the inside 'Effusions of Fancy by a very
Young Lady, consisting of Tales in a Style entirely new.' It contains
one other tale, unfinished, but of considerable length, called _Kitty or
the Bower_, which is preceded by the following dedication, dated
'Steventon, August 1792.'
TO MISS AUSTEN.
MADAM,--Encouraged by your warm patronage of _The
Beautiful Cassandra_ and _The History of England_,
which, through your generous support, have
obtained a place in every library in the Kingdom,
and run through four score editions, I take the
liberty of begging the same Exertions in favour of
the following novel, which I humbly flatter myself
possesses Merit beyond any already published, or
any that will ever in future appear, except such
as may proceed from the pen of your most grateful
Humble Servant,
THE AUTHOR.
The tale begins in characteristic style, which suggests the later
_Northanger Abbey_.
Catharine had the misfortune, as many heroines
have had before her, of losing her parents when
she was very young, and of being brought up under
the care of a maiden aunt, who, while she tenderly
loved her, watched her conduct with so
scrutinizing a severity as to make it very
doubtful to many people, and to Catharine among
the rest, whether she loved her or not.
Catharine lives with this aunt in Devonshire, five miles from Exeter.
Some friends of her aunt, a Mr. Stanley, M.P., his wife and daughter
(very foolish, and suggestive of Isabella Thorpe) come to visit them.
Mr. Stanley's son turns up unexpectedly and pays great attention to
Catharine, much to the disgust of the aunt, who has a detestation of all
young men. The tale comes to an abrupt conclusion with the departure of
the guests. The story is at times amusing, but obviously immature, and
we need not regret that it was never finished.
Other early sketches are _Henry and Eliza_, dedicated to Miss Cooper,
which must have been written before the latter's marriage at the end of
1792; _The Visit_, dedicated to the Rev. James Austen; _Jack and Alice_,
and _Adventures of Mr. Harley_, dedicated to Francis William Austen,
Esq., midshipman on board H.M.S. _Perseverance_ (soon after 1788), and
other pieces dedicated to Charles John Austen, Esq.
_Evelyn_ and _Kitty_ seem to mark a second stage in her literary
education: when she was hesitating between burlesque and immature
story-telling, and when indeed it seemed as if she were first taking
note of all the faults to be avoided, and curiously considering how she
ought _not_ to write before she attempted to put forth her strength in
the right direction.
[40]'Her own mature opinion of the desirableness of such an early habit
of composition is given in the following words of a niece:--
As I grew older, my aunt would talk to me more
seriously of my reading and my amusements. I had
taken early to writing verses and stories, and I
am sorry to think how I troubled her with reading
them. She was very kind about it, and always had
some praise to bestow, but at last she warned me
against spending too much time upon them. She
said--how well I recollect it!--that she knew
writing stories was a great amusement, and _she_
thought a harmless one, though many people, she
was aware, thought otherwise; but that at my age
it would be bad for me to be much taken up with my
own compositions. Later still--it was after she
had gone to Winchester--she sent me a message to
this effect, that if I would take her advice I
should cease writing till I was sixteen; that she
had herself often wished she had read more, and
written less in the corresponding years of her own
life.
'As this niece was only twelve years old at the time of her aunt's
death, these words seem to imply that the juvenile tales which we have
mentioned had, some of them at least, been written in her childhood;
while others were separated only by a very few years from the period
which included specimens of her most brilliant writing.'
In the summer of 1788, when the girls were fifteen and twelve
respectively, they accompanied their parents on a visit to their
great-uncle, old Mr. Francis Austen, at Sevenoaks. Though Jane had been
to Oxford, Southampton, and Reading before, it is probable that this was
her first visit into Kent, and, what must have been more interesting
still, her first visit to London. We have no clue as to where the party
stayed in town, but one of Eliza de Feuillide's letters to Philadelphia
Walter mentions that they dined with Eliza and her mother on their way
back to Hampshire.
They talked much of the satisfaction their visit
into Kent had afforded them. What did you think of
my uncle's looks? I was much pleased with them,
and if possible he appeared more amiable than ever
to me. What an excellent and pleasing man he is; I
love him most sincerely, as indeed I do all the
family. I believe it was your first acquaintance
with Cassandra and Jane.
Though Philadelphia's reply to this letter has not been preserved, we
have a letter of hers to her brother. Writing on July 23, she says:--
Yesterday I began an acquaintance with my two
female cousins, Austens. My uncle, aunt,
Cassandra, and Jane arrived at Mr. F. Austen's
the day before. We dined with them there. As it's
pure nature to love ourselves, I may be allowed to
give the preference to the eldest, who is
generally reckoned a most striking resemblance of
me in features, complexion, and manners. I never
found myself so much disposed to be vain, as I
can't help thinking her very pretty, but fancied I
could discover _she_ was not so well pleased with
the comparison, which reflection abated a great
deal of the vanity so likely to arise and so
proper to be suppres't. The youngest [Jane] is
very like her brother Henry, not at all pretty and
very prim, unlike a girl of twelve; but it is
hasty judgment which you will scold me for. My
aunt has lost several fore-teeth, which makes her
look old; my uncle is quite white-haired, but
looks vastly well; all in high spirits and
disposed to be pleased with each other.
A day or two later, Philadelphia wrote further:--
I continue to admire my amiable likeness the best
of the two in every respect; she keeps up
conversation in a very sensible and pleasing
manner. Yesterday they all spent the day with us,
and the more I see of Cassandra the more I admire
[her]. Jane is whimsical and affected.
'Not at all pretty,' 'whimsical and affected.' 'Poor Jane!' one is
tempted to exclaim, but whatever she would have said to this estimate of
herself, of one thing we may be perfectly sure: that she would have been
the first to agree with her critic as to her own absolute inferiority to
Cassandra.
There is a passage in a letter written from Southampton, February
1807,[41] in which she says she is often 'all astonishment and shame'
when she thinks of her own manners as a young girl and contrasts them
with what she sees in the 'best children' of a later date.
One other mention of Jane at this period may be quoted--that of Sir
Egerton Brydges, the author and genealogist. His sister had married Mr.
Lefroy, who in 1783 had become rector of Ashe (the living which George
Austen would have held, had it become vacant before Deane), in
succession to Dr. Russell. Sir Egerton, on his marriage in 1788, had for
two years rented Mr. Austen's parsonage at Deane in order to be near his
sister.
The nearest neighbours of the Lefroys were the
Austens at Steventon. I remember Jane Austen the
novelist as a little child. She was very intimate
with Mrs. Lefroy and much encouraged by her. Her
mother was a Miss Leigh, whose paternal
grandmother was sister to the first Duke of
Chandos. Mr. Austen was of a Kentish family, of
which several branches have been settled in the
Weald of Kent, and some are still remaining there.
When I knew Jane Austen I never suspected that she
was an authoress, but my eyes told me that she was
fair and handsome, slight and elegant, but with
cheeks a little too full.
Sir Egerton's description is the more pleasing of the two; but it must
be remembered that he was writing long after the time he mentions, and
that his recollections were no doubt somewhat mellowed by Jane Austen's
subsequent fame; whereas Philadelphia Walter's is an unvarnished
contemporary criticism--the impression made by Jane on a girl a few
years older than herself.
Fortunately, neither looks nor manners are stereotyped at the age of
twelve, so we need not be surprised to find that Eliza, when writing in
August 1791 in reference to a letter just received from Steventon,
talks of the two sisters as 'perfect Beauties,' who were of course
gaining 'hearts by dozens.' And again in November of the same year, she
writes that she hears 'they are two of the prettiest girls in
England.'[42] When due allowance is made for family exaggeration, we may
conclude that at eighteen and fifteen years of age both Cassandra and
Jane had their fair share of good looks.
Eliza's letters give us another glimpse of the sisters in 1792, and
indeed of the whole Steventon party. She writes on September 26:--
I have the real pleasure of informing you that our
dear Uncle and Aunt are both in perfect health.
The former looks uncommonly well, and in my
opinion his likeness to my beloved mother is
stronger than ever. Often do I sit and trace her
features in his, till my heart overflows at my
eyes. I always tenderly loved my Uncle, but I
think he is now dearer to me than ever, as being
the nearest and best beloved relation of the never
to be sufficiently regretted parent I have lost;
Cassandra and Jane are both very much grown (the
latter is now taller than myself), and greatly
improved as well in manners as in person, both of
which are now much more formed than when you saw
them. They are I think equally sensible and both
so to a degree seldom met with, but still my heart
gives the preference to Jane, whose kind
partiality to me indeed requires a return of the
same nature. Henry is now rather more than six
feet high, I believe; he also is much improved,
and is certainly endowed with uncommon abilities,
which indeed seem to have been bestowed, though in
a different way, upon each member of this family.
As to the coolness which you know had taken place
between H. and myself, it has now ceased, in
consequence of due acknowledgement, on his part,
and we are at present on very proper relationlike
terms. You know that his family design him for the
Church. Cassandra was from home when I arrived;
she was then on a visit to Rowling, the abode of
her brother Edward--from which she returned some
time since, but is now once more absent, as well
as her sister, on a visit to the Miss Lloyds, who
live at a place called Ibthorp, about eighteen
miles from hence. . . . There has been a Club Ball at
Basingstoke and a private one in the
neighbourhood, both of which my cousins say were
very agreeable.
The date 1790 or 1791 must be assigned to the portrait--believed to be
of Jane Austen, and believed to be by Zoffany--which has been chosen as
the frontispiece for this book, as it was for Lord Brabourne's edition
of the Letters.[43] We are unable for want of evidence to judge of the
likeness of the picture to Jane Austen as a girl; there is, so far as we
have heard, no family tradition of her having been painted; and, as her
subsequent fame could hardly have been predicted, we should not expect
that either her great-uncle Frank, or her cousin, Francis Motley Austen,
would go to the expense of a picture of her by Zoffany. Francis Motley
had a daughter of his own, another Jane Austen, who became Mrs. Campion
of Danny, and a confusion between the two Janes is a possible
explanation.
On the other hand, we believe there is no tradition in either the Austen
or the Campion family of any such portrait of _that_ Jane Austen, and
the _provenance_ of our picture is well authenticated. The Rev. Morland
Rice (grandson of Edward Austen) was a Demy of Magdalen College, Oxford.
An old Fellow of Magdalen, Dr. Newman, many years before his death, told
him that he had a portrait of Jane Austen the novelist, that had long
been in his family. He stated that it was painted at Bath when she was
about fifteen, and he promised to leave him (M. Rice) the picture. A few
months before his death, Dr. Newman wrote to his friend, Dr. Bloxam,
sending him a picture as a farewell present, and adding: 'I have another
picture that I wish to go to your neighbour, Morland Rice. It is a
portrait of Jane Austen the novelist, by Zoffany. The picture was given
to my stepmother by her friend Colonel Austen of Kippington, Kent,
because she was a great admirer of her works.' Colonel Austen was a son
of Francis Motley, and it is hardly conceivable that he should give away
to a stranger a portrait of his _sister_ Jane as one of his _cousin_
Jane. Our Jane became fifteen on December 16, 1790, and Zoffany returned
from India[44] in that year. Jane is believed to have visited her uncle,
Dr. Cooper (who died in 1792), at Bath. There is nothing in these dates
to raise any great difficulty, and, on the whole, we have good reason to
hope that we possess in this picture an authentic portrait of the
author.
The Austens seem to have been possessed of considerable histrionic
talent, and they were decidedly ambitious in the plays they undertook.
Their cousin Eliza was out of England in 1784 when their theatricals
first began; but on a later occasion she was one of the principal
performers. They had their summer theatre in the barn, and their winter
theatre either there or within the narrow limits of the dining-room,
where the number of listeners must have been very small. In 1784
Sheridan's _Rivals_ was acted by 'some ladies and gentlemen at
Steventon.' The same year they seem to have given also the tragedy of
_Matilda_.[45] It was the day of prologues and epilogues, and the young
actors were careful to omit nothing that would make the performance
complete. James, the eldest son, brought into play his skill in
verse-making; and we read of Henry Austen speaking a prologue (from his
brother's pen) to _The Rivals_, while the prologue to _Matilda_ was
given by Edward Austen, and the epilogue by Thomas Fowle.
Midsummer and Christmas were the two seasons when George Austen
dismissed his pupils for their holidays, and it was at these two periods
that the theatricals usually took place. For the year 1787 we have a few
details as to contemplated performances. Eliza de Feuillide had come to
England with her mother in the summer of 1786, and probably went to
Steventon at midsummer. In September 1787 she was at Tunbridge Wells
with her mother and her cousin Phila. In a letter to her brother, Phila
tells us that they went to the theatre, where (as was the custom in
those days) the Comtesse--presumably as a person of some
importance--'bespoke' the play, which was _Which is the Man?_[46] and
_Bon Ton_.[47] This is interesting, because later on in the same letter
Phila says: 'They [i.e. the Comtesse and her mother] go at Christmas to
Steventon and mean to act a play, _Which is the Man?_ and _Bon Ton_. My
uncle's barn is fitting up quite like a theatre, and all the young folks
are to take their part. The Countess is Lady Bob Lardoon [_sic_] in the
former and Miss Tittup in the latter. They wish me much of the party and
offer to carry me, but I do not think of it. I should like to be a
spectator, but am sure I should not have courage to act a part, nor do I
wish to attain it.'
Eliza was, however, very urgent with Phila that she should send all
diffidence _to Coventry_.
Your accommodations at Steventon are the only
things my Aunt Austen and myself are uneasy about,
as the house being very full of company, she says
she can only promise you 'a place to hide your
head in,' but I think you will not mind this
inconvenience. I am sure I should not--to be with
you. Do not let your dress neither disturb you, as
I think I can manage it so that the _Green Room_
should provide you with what is necessary for
acting. We purpose setting out the 17th of
December. . . . I assure you we shall have a most
brilliant party and a great deal of amusement, the
house full of company, frequent balls. You cannot
possibly resist so many temptations, especially
when I tell you your old friend James is returned
from France and is to be of the acting party.
But Phila still stood out, and Eliza attacked her once more on November
23, begging her to come for a fortnight to Steventon, provided she could
bring herself to act, 'for my Aunt Austen declares "she has not room for
any _idle young people_."'
We hear no more news of these theatricals, but it is probable that there
was a change in the selection of the plays, for there is extant a
prologue by James Austen to _The Wonder_,[48] acted at Steventon,
December 26 and 28, 1787, as well as an epilogue 'spoken by a Lady in
the character of Violante.' There is also a prologue to _The
Chances_,[49] acted at Steventon, January 1788.
The last Steventon performances of which we have any knowledge took
place in January 1790, when a farce called _The Sultan_[50] was acted.
The leading lady on this last occasion was Miss Cooper, who spoke the
epilogue in the character of Roxalana, Henry Austen playing the
title-role. On the same occasion Townley's farce, _High Life below
Stairs_, was also given.
Of Jane's own part in these performances there is no record, for she was
only just fourteen when the last took place. But even if she took no
more share than Fanny Price, she must have acquired a considerable
acquaintance with the language of the theatre--knowledge that she was to
turn to good account in _Mansfield Park_. She was an early observer, and
it might reasonably be supposed that some of the incidents and feelings
which are so vividly painted in the _Mansfield Park_ theatricals are due
to her recollections of these entertainments.
The talent and liveliness which she would show, if ever she had an
opportunity of acting herself, may be imagined. The late Sir William
Heathcote is said to have remembered being with her at a Twelfth Night
party when he was a little boy, on which occasion she, having drawn the
part of Mrs. Candour, acted it with appreciation and spirit.
FOOTNOTES:
[33] W. R. O'Byrne's _Naval Biographical Dictionary_, 1849.
[34] Pp. 16-20.
[35] We again make use of the words of the _Memoir_ (pp. 15-17) in the
description of the family party, &c.
[36] We are told that Jane was one of the least exclusive of the family.
[37] _Memoir_, pp. 22, 23.
[38] The carriage was given up in 1798. See letter of November 17 in
that year in _Brabourne_, vol. i. p. 165.
[39] _Memoir_, p. 42.
[40] _Memoir_, p. 45.
[41] See p. 201.
[42] _Supra_, p. 43.
[43] A reproduction of this picture appears also as a frontispiece to
the first volume of Dent's illustrated edition of the novels (1892).
[44] _Dictionary of National Biography_, s.v.
[45] By Dr. Thomas Francklin; but said to be almost a translation of
Voltaire's _Duc de Foix_.
[46] A comedy by Mrs. Cowley.
[47] _Bon Ton, or High Life above Stairs_, a comedy by David Garrick.
[48] _The Wonder: a Woman keeps a Secret_, a comedy by Mrs. Centlivre.
[49] Probably Garrick's version of Fletcher's comedy.
[50] _The Sultan: or a Peep into the Seraglio_, by I. Bickerstaffe.