Jane Austen

Austen's Era
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The Nineteenth Century and Its Impact on Austen's Writings


Whether you call it "the Napoleonic era," "the Regency," or "late Georgian," the era of c. 1795-1830 is one of the most dramatic times in the history of the world. It is a time of war. And gaiety. Sorrow and pain. Downright hedonism. It is social manners taken to the ultimate degree. It is the heyday of the Industrial Revolution when merchants were becoming wealthier than noblemen. There was more education, for a wider range of people. More ideas. New evangelical churches, mostly appealing to the middle and lower classes, and beginning to preach a new morality. There were riots. The landed class lived in terror of a French-style revolution, which was based on the rebellion of the American colonies, both well within the lifetimes of most people of the Regency.

To the outsider, it might seem as if women of this nobility and gentry did very little--but their work was very important and sometimes very hard, as they were expected to manage the home and the household. As Etty Raverat, who was a young woman in the late 1800s, said, "Ladies were ladies in those days; they did not do things themselves, they told others what to do and how to do it" (Harrison and Ford, 226).

However, this lifestyle left ample time for leisure. Social parties and balls were held often. Dancing was a favorite pastime among most upper-class women and men. An evening party often would end with a few sets among the four or five couples present. Unmarried women spent a great deal of time with other unmarried women. However, once a woman was married her role was considered manager of the household, and she had much less time than before to walk and talk with former friends.

Though the life of an upper class woman might seem easier and more secure than that of a lower class woman, it was not always so. Land, titles, and money were inherited by the closest male relative--typically the older son, but if there was no older son then it would go to a more distant relation. Only the small amount of money set aside as a woman’s marriage dowry went to an unmarried woman after the death of her father. As a result, many mothers and daughters were left extremely poor after the death of their husband and father (Mitchell, 107).

The next-highest class was the middle class. Women of this class were much like women of the upper class, though their lands were not so extensive nor their way of life so grand as that of the aristocracy and landed gentry. People of the middle class associated with their peers and sometimes with those in the upper class. Women of the middle class depended heavily on marrying "up" into the upper classes, therefore gaining social prestige as well as a great deal more worldly goods.

The middle class itself was a much broader area of people than the upper class. It included everyone between the working classes and the lower gentry. It depended mostly not on how much money one had, but on how this money was obtained (Mitchell, 20). Because of this, the singular roles of middle class women varied greatly from family to family. Some unmarried women might have a place in the family shop, while others might live very much as a genteel woman would, with little work and much leisure.

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JANE AUSTEN'S LIMITATIONS

Austen's particular excellences - the elegant economy of her prose, the strength and delicacy of her judgment and moral discrimination, the subtlety of her wit, the imaginative vividness of her character drawing - have been emulated but not surpassed by subsequent writers. Meticulously conscious of her artistry, Austen is unremittingly attentive to the realities of ordinary human existence. From the first, her works unite subtlety and common sense, good humor and acute moral judgment, charm and conciseness, deftly marshaled incident and carefully rounded character.

Austen's detractors have spoken of her as a "limited" novelist, one who writing in an age of great men and important events, portrays small towns and petty concerns, who knows or reveals nothing of masculine occupations and ideas, and who reduces the range of feminine though and deed to matrimonial scheming and social pleasantry. Her tales, like her own life, are set in country villages and at rural seats, from which the denizens venture forth to watering places or travel to London. Her characters tend to be members of her own order, that prosperous and courteous segment of the middle class called the gentry. Unlike her novel-writing peers, Austen introduced few aristocrats into the pages of her novels, and the lower ranks, though glimpsed from time to time, are never brought forward.

In focusing on the manners and morals of rural middle-class English life, particularly on the ordering dance of matrimony that gives shape to society and situation to young ladies, Austen emphasizes rather than evades reality. A proof of Austen's power is that she succeeds in making whole communities live in the reader's imagination with little recourse to the stock device of the mere novelist of manners: descriptive detail.


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