Tag: reading

  • Jane Austen, Persuasion and Lyme Regis

    The Austen family visited Lyme Regis in the Autumn of 1803 and again in the summer of 1804.  At the time of their visit, Lyme Regis was fast becoming a popular destination for middle class Georgians to enjoy the healing properties of bathing and the sea air.

    Historian Lucy Worsley in her research for her work Jane Austen at Home managed to track down where the Austens stayed for part of their summer sojourn, and identifies it as Pyne House in Broad Street.  The house, now divided into holiday flats, still exists and Lucy Worsley stayed there during the course of her research.  Although it seems that Jane Austen did not return to Lyme Regis after 1804, her time there clearly made a firm impression on her as she later used the setting in her final completed novel, Persuasion.

    Characters are rarely static in Austen’s work, frequently moving between locations, and Persuasion is no exception.  Anne Elliot, the heroine of the text, moves between three significant settings.  The novel begins in rural Somersetshire.  There is an interlude in Lyme Regis.  The novel then concludes in Bath.  It is the section in Lyme Regis which interests me, although my use of the term ‘interlude’ may not be the most accurate word.  Whilst constituting a relatively small portion of the novel, it is this section which proves transformative for Anne, in part through the symbolic nature of the landscape.  However, before we arrive at Lyme Regis it may be useful to establish a little bit of context.

    The novel tells the story of twenty-seven year old Anne Elliot, rather an elderly spinster by Regency standards, who, we are frequently told, is now losing her bloom.  We encounter Anne some eight years after her broken engagement to Frederick Wentworth, who was a Lieutenant of limited financial means.  The broken engagement has occurred before the beginning of the novel and the reader has to piece together the details as the novel unfolds.  Anne was persuaded to end the engagement through family pressure due to concerns about Wentworth’s lower status.  During the eight years which have passed, no potential suitors have generated the same depth of feeling and thus Anne may well be facing life as an old maid.  To compound matters further, the Elliots have seen a decline in their fortunes due to reckless money management by Anne’s father.  They have no choice but to rent out the family home of Kellynch Hall.  Thus, the widowed Sir Walter and Anne’s older and unmarried sister Elizabeth set up residence in Bath.  Meanwhile, Anne goes to live with her younger married sister Mary at Upper Cross.  Kellynch Hall is rented out to Admiral Croft following his return from the Napoleonic Wars.  His wife just happens to be the sister of Frederick Wentworth (he of the broken engagement) thus making way for his return into Anne’s life.  Whilst the Elliot fortunes have declined, Wentworth is now a wealthy Captain.  He remains angry and bitter over the end of the relationship, and any reconciliation seems unlikely, making the usual Austen happy ending doubtful.

    On the surface, Anne Elliot appears a more reserved and introverted Austen heroine but her development is connected to the locations in which she finds herself.  Just under half way through the novel a visit to Lyme Regis is proposed and thus Anne finds herself joining a party consisting of her sister Mary and husband Charles, and his sisters Henrietta and Louisa.  Captain Wentworth is also part of the group and seems to be engaging in some mild flirtation with Louisa.

    Passing time is a recurrent theme in the novel, not least due to the frequent references to Anne’s fading youth.  The sense of lateness is continued during the visit to Lyme Regis.  It is November, and so the holiday season is over: ‘…the rooms were shut up, the lodgers almost all gone, scarcely any family but of the residents left.’ It being November, the daylight is fast fading and the narrator tells us ‘… it was very evident they would not have more time for looking about them, before the light and warmth of the day were gone.’ (Chapter Eleven). This somewhat melancholy feel is extended through Anne’s sense of regret at what might have been regarding Captain Wentworth, and Lyme Regis becomes a place for reflection.  However, the location quickly works its magic as Anne begins to enjoy herself and becomes more confident as she begins to appreciate her own intelligence.  The following morning, she partakes of a ‘stroll down to the sea before breakfast’ (Chapter Eleven) in the company of Henrietta.  The narrator describes how Anne glories in the delight of the sea breeze.  Later that morning Anne accompanies Captain Wentworth, Louisa and Henrietta on a trip to town.  It is on the way back that a significant event occurs in terms of Anne’s transformation.  As they are about to descend the steps leading down to the beach they encounter a gentleman who draws back to allow them to go first.  As they pass by, the gentleman looks at Anne:

    … with a degree of earnest admiration which she could not be insensible of.  She was looking remarkably well; her very regular, very pretty features, having the bloom and freshness of youth restored by the fine wind which had been blowing on her complexion, and by the animation of eye which it had also produced. (Chapter Twelve)

    This is the first instance of Anne’s appearance being described in favourable terms.  The moment becomes more significant though:

    It was evident that the gentleman (completely a gentleman in manner), admired her exceedingly.  Captain Wentworth looked round at her instantly in a way which showed his noticing of it.  He gave her a momentary glance – a glance of brightness, which seemed to say, ‘That man is struck with you – and even I, at this moment, see something like Anne Elliot again.  (Chapter Twelve)

    This is an important moment.  Not only has the vigour of the sea air restored Anne’s fading bloom, Captain Wentworth is witness to another man finding her attractive, which begins a shift in his own feelings.

    The next significant event concerns an accident at the Cobb.  This is a stone constructed breakwater and jetty, some of which dates back to medieval times.  It has proved to be an important structure over the years, preventing coastal erosion and securing a safe harbour for trade, and thus is of great economic importance for the town.  It has been extended and repaired many times over the centuries.  Earlier, the narrator has praised ‘its old wonders and new improvements, with the very beautiful line of cliffs stretching out to the east of the town,’ a description which is still recognisable today.  Jane Austen’s fondness for Lyme Regis is evident through the way in which she creates a sense of the surrounding scenery.

    The rather boisterous Louisa has previously enjoyed being jumped down from stiles by Captain Wentworth as ‘the sensation was delightful to her.’  Whilst the other ladies are content to use the steps from the high part of the Cobb to the lower level, Louisa again wishes to be jumped down.  Wentworth is reluctant to do so, fearing the hardness of the pavement will be too jarring for her.  She refuses to listen, he reluctantly agrees, and all is well.  That is until she runs up the steps to be jumped down again.  This time she jumps too soon and he fails to catch her, ‘she fell on the pavement on the lower Cobb, and was taken up lifeless!’ (Chapter Twelve) Her face is described as ‘like death’.  Chaos ensues, her sister Henrietta faints and Wentworth is beside himself with guilt and despair.  It falls to Anne to take control, providing smelling salts, supporting the fainting sister, and insisting a surgeon is sent for.  As the drama continues, Anne remains a figure of calm and it becomes clear Wentworth defers to her authority and begins to appreciate, rather than resent, her presence.

    Lyme Regis functions as a place of transition.  In terms of structure, it occupies a small space in the narrative, just two chapters at the end of Volume I, providing an interlude between the rural Somersetshire chapters in Volume I and the Bath chapters in Volume II.  However, it provides a crucial turning point in the story of Anne Eliot.  She gains a newfound confidence regarding her intellectual strengths, and experiences moments of self-realisation regarding her own actions in the broken engagement to Wentworth.  Furthermore, her physical health is improved by the sea air and she regains some of her lost, all important, bloom.  The narrator describes it as an ideal place ‘for sitting in unwearied contemplation’.  Indeed, Austen’s love for the location clearly comes through as we are told ‘these places must be visited, and visited again, to make the worth of Lyme understood.’ (Chapter Eleven) As we leave Anne Elliot just half way through her story, you could now turn to Persuasion to see how her future unfolds.

    (Photos are author’s own)

  • Elizabeth Gaskell and ‘Wives and Daughters’

    Elizabeth Gaskell died in 1865 leaving behind a wide range of works – novels, novellas, short stories, poetry and non-fiction.  Her final novel, Wives and Daughters lay unfinished, just shy of the final chapter or so.  There is some common ground here between Elizabeth Gaskell and the later writer Edith Wharton, who died before the completing the final chapters of The Buccaneers (1938).  Both writers had their incomplete novels published posthumously.  Both writers decided to set their final works in an earlier time.  Edith Wharton, writing in the 1930s, decided to return to the 1870s in The Buccaneers.  Elizabeth Gaskell, writing in the 1860s, returned to the 1820s in Wives and Daughters.  It is interesting, that at this stage of their lives, both writers decided to revisit a bygone age.

    In some ways it is difficult to know where to start with Wives and Daughters.  It is a large, and in some ways, a complex novel spanning some 580 plus pages.  At the heart of the novel is the story of young Molly Gibson and her journey from childhood into maturity and the relationships she forms with those around her.  However, in many ways, this is an oversimplification of a very rich text.  Gaskell explores some complex issues and the novel contains many carefully drawn characters.  It features not only birth, marriage and death, but secrets and lies, conflict and humour, and is much more than a simple tale of Molly’s maturation.  It opens in a fairytale like manner:

    To begin with the old rigmarole of childhood. In a country there was a shire, and in that shire there was a town, and in that town there was a house, and in that house there was a room, and in that room there was a bed, and in that bed there lay a little girl; wide awake and longing to get up, but not daring to do so for fear of the unseen power in the next room…

    The ‘unseen power’ is Betty the maid, and the little girl is the aforementioned Molly.  The ‘sing-song’ rhythmic nature and the use of repetition is a little like a nursery rhyme, but it also achieves an image which moves from a wide view to a specific focus. Whether you find this opening endearing or a little off-putting, please forge ahead as you will not be disappointed.

    …To read the rest of the article (free) please follow the link to Wordsworth Editions click here

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  • A Princess in the Attic

    Here is another piece originally written for Wordsworth Editions Blog.

    I first came across A Little Princess through the 1973 BBC adaptation and was immediately captivated by it. I am not sure exactly what drew me in but having recently returned to the original novel I realise I was a similar age to the gently heroic Sara Crewe when the narrative begins. Frances Hodgson Burnett’s tale of the experiences of young Sara, born in India and who at the tender age of seven arrives at Miss Minchin’s Select Seminary for Young Ladies in London, has remained in print since its first publication in 1905.

    Just to clarify, Sara is not actually a princess, although at the start of the narrative she is extremely privileged, wealthy and much loved by her father Captain Crewe.  She arrives at school with an elaborate wardrobe with ‘sable and ermine on her coats, and real Valenciennes lace on her underclothing’ (Chapter 1).  Her favourite doll Emily also has an extensive wardrobe and Sara’s status is such that she has her own private sitting-room and a French maid. The very strict Miss Minchin finds her clothing ‘perfectly ridiculous’ for a child of her age, but is more than happy to exploit the benefits of having such a wealthy pupil at her school.

    The narrative is a relatively simple one and on the surface this may seem like an ordinary school novel, in that Sara has to overcome her initial homesickness at leaving her beloved father, and cope with a headmistress who does not like her. There are the challenges of making friends as she is unable to win the approval of the clique of popular girls led by the nasty Lavinia. Despite these challenges, Sara settles in and all is well until her eleventh birthday at which point tragedy strikes when Miss Minchin receives news of Captain Crewe’s death.  This is where matters take a decided turn for the worst as Captain Crewe has lost his fortune through a disastrous investment in a diamond mine. Sara is left a penniless and homeless orphan at the mercy of Miss Minchin. Rather than turn her out onto the street, Miss Minchin is persuaded to consider her reputation and instead puts Sara to work and banishes her to a cold attic, minus her extensive wardrobe.  The rest of the narrative follows Sara’s efforts to survive her harsh living conditions and her attempts to make the best of her situation by relying on her very active imagination. However, if you peel away the top layer of an apparently simple children’s story, it becomes apparent Frances Hodgson Burnett has something to say about child poverty in Edwardian Britain.

    The novel went through a number of incarnations, beginning as a serialized short story in 1887, before becoming a successful stage play during the 1890s. In 1905 it was expanded into the novel we now have.  It’s original title was A Little Princess: Being the Whole Story of Sara Crewe Now Being Told for the First Time. This included an introduction written by Burnett in which she said ‘… between the lines of every story there is another story…’ Burnett’s reasons for expanding and developing the story were, in part, financially motivated. Following her divorce from Swan Burnett and then a second divorce after a disastrous short marriage to Stephen Townsend, a man somewhat her junior, Burnett found herself in need of some additional income. This was solved by transforming the stage version of A Little Princess into a novel.

    … To read the full article, please head over to Wordsworth Editions. Click here…

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