I know from your comments that some of you are not fans of Jane Austen, so following on from the last two posts I thought I would attempt a defence of her writing. Some people, particularly some men, characterise her as ‘light’ fiction or worse, chick-lit – though I’m sure none of you guys would be so crass as to call it that. She is none of these things. It’s true that the central plots of her novels are about a woman’s journey which usually ends in marriage, but in Austen’s time there were only three paths open to a woman: marriage, prostitution or being an ‘old maid’ – the equivalent of the ‘crazy cat lady’ so many fascists mock in the hope of persuading us that a woman without a man is nothing.
(A woman without her man is nothing.
A woman – without her, man is nothing.
A little joke there illustrating the importance of proper punctuation.)
There are examples of both happy and unhappy marriages in her work, perhaps illustrating Tolstoy’s later maxim that all happy marriages are alike and all unhappy marriages different – and while prostitution does not come within the purview of the novels, spinsterhood definitely does. ‘Emma’ begins with the wedding of Emma’s governess Miss Taylor, a woman who might well have been facing a life of celibacy but is proposed to by the unexceptionable Mr Weston, and so is accepted into society as an equal (though Mr Woodhouse persists in calling her ‘poor Miss Taylor’ throughout.) But the classic ‘old maid’ character in Austen is Miss Bates; a verbose middle-aged woman who lives with her elderly mother on a narrow income. But, figure of fun though she is, Miss Bates is nonetheless liked and respected in her community for her cheerfulness in the face of adversity: ‘My mother’s deafness is very trifling you see—just nothing at all. By only raising my voice, and saying any thing two or three times over, she is sure to hear.’ Miss Bates is a person who even the light-hearted Frank Churchill feels ‘one would not wish to slight’ and Emma gets thoroughly schooled by Mr Knightley when she is rude to her on Box Hill.
There is no getting away from the fact that women derive their status from men (Elizabeth Bennet declares herself the equal of Darcy because ‘he is a gentleman, I am a gentleman’s daughter’) and Austen does not shy away from this fact. Neither does she romanticise it; she had witnessed too many marriages at close quarters to do that. Marriage is a matter of convenience, status and income but the central problem of these character is that, as Jane says to Lizzy: ‘I should so much wish to marry for love.’ To which Lizzy replies by advising her ‘to take care you fall in love with a man of good fortune.’ It’s light-hearted, but underneath is the brutal truth of their existence: marry, and marry well – or perish. On the other hand Charlotte Lucas, Elizabeth’s friend who is a few years older and hence in the last-chance saloon of marriage, marries the dull and pompous Mr Collins, declaring: ‘I’m not romantic. I never was,’ and seeming to make a decent fist of the arrangement.
But Austen doesn’t just write a couple coming together; she writes a whole society. ‘Four or five families is the very thing to work on,’ she wrote in her diary. People are firmly located in society and setting; though there is very little natural description in her work, the importance of good company and good housing are key. But primarily she writes about people. How are people to be understood? This is a central question: when people say one thing and do another; when they leave town and don’t write; when they are secretive and mysterious – how are they to be understood? This is a society of manners and propriety; a lady cannot simply approach a gentleman and say, ‘what did you mean yesterday when you said so-and-so?’ Marianne tries it in Sense and Sensibility and comes seriously unstuck; though it’s only fair to point out that her over-serious sister Elinor also needs to loosen up a bit. So ‘how are we to behave?’ is another key question – not in the moralising sense you’d expect from a Victorian novel, but as a clue to how to get on in society.
There are many tests of the greatness of a work of art. One is the test of time; another is whether it translates into other languages and cultures. Her work passes both of these. Several generations later, Poet Laureate Tennyson was said to admire her so much that he kept a set of her novels in each of his houses. Another important test for women is The Bechdel test, named after cartoonist Alison Bechdel. It’s a test of how many named female characters there are in a book or film who talk to each other about something other than men. In Jane Austen women talk about all sorts of things; their problems, their families, their friends, whether so-and-so is likely to get a living or run a farm or set up a carriage, whether some information they have received should be passed on or kept confidential, and so on. In short, they talk about life. True, there isn’t much political or philosophical discourse in the novels but there are hints that it goes on: Emma refers to racism against the Scots when asking about a plan to hire a Scottish bailiff: ‘will not the old prejudice be too strong?’ (Let’s not forget it’s only a generation or two since the line ‘rebellious Scots to crush’ was expunged from the National Anthem.) And the slave trade is in the background in Emma too:
https://jasna.org/persuasions/printed/number9/deforest.htm?
There are also indications that society is changing when the Coles who have been in ‘trade’ become rich and are accepted into society.
These are not sheltered, clueless characters with no idea of what happens in the outside world, even though education for women in Austen’s time was a haphazard affair. Whereas boys were sent away to school from the age of seven or so, girls were usually educated to be ‘accomplished’: to play an instrument or sing, to sew and draw, to speak a little French, write a good letter, and so on. They might have tutors for some subjects but there were no universities to go to and no professions to practice; the emphasis was on preparing the girls for courtship and marriage. (Of course I’m talking about the gentry here: working-class women had no choice but hard labour, whether inside the home or outside it.) But some women found their own way: in Pride and Prejudice Mary Bennet, knowing herself to be plain, decides to educate herself (see yesterday’s post) by learning Greek and studying the classics in her father’s library. When Lizzie Bennet is asked about her accomplishments, she mentions that they had no tutors and that ‘those who wished to be idle, certainly might.’ Darcy then gives her his idea of an accomplished woman, commenting that he only knows five or six women who measure up:
“you must comprehend a great deal in your idea of an accomplished woman.” remarks Elizabeth.
“Yes; I do comprehend a great deal in it.”
“Oh! certainly,” cried his faithful assistant, “no one can be really esteemed accomplished, who does not greatly surpass what is usually met with. A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half deserved.”
“All this she must possess,” added Darcy, “and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading.”
Darcy’s ‘faithful assistant’ here is Caroline Bingley, who is determined to marry him and so agrees with him on every point; it’s one of the ironies of the novel that Darcy, tired of finding sycophants wherever he goes, is far more piqued by Elizabeth’s disagreement than Caroline’s support. After this long diatribe Elizabeth drily comments that she is no longer surprised at Darcy knowing only six accomplished women: ‘I rather wonder at your knowing any.’
There is no pretence in Jane Austen of women being intellectually inferior to men. But neither is she a political radical, more or less accepting the position of women in society and making the best of it, as Charlotte Lucas does.