Austen letters 152 & 153, to Caroline and Fanny Austen Knight, 20 Feb & 13 March 1817

Single Women have a dreadful propensity for being poor — which is one very strong argument in favour of Matrimony —

Miss Catherine is put upon the Shelve for the present, and I do not know that she will ever come out; but I have a something ready for Publication, which may perhaps appear about a twelvemonth hence. It is short, about the length of Catherine. — Austen

Olivia Williams as the fatally ill Austen in Miss Austen Regrets (2008): she tries to but cannot walk

Dear friends and readers,

Over these last letters of Austen’s life a repeated controversy or difference of opinion has emerged in the discussions on Janeites, Austen-l and other list-servs. One school (I’ll call it) of view sees Austen as writing these two (as well as earlier letters to Anna and James-Edward Austen-Leigh) in a strongly ironic or hiddenly sarcastic spirit, where when Austen seems to praise something she is dispraising it. I cannot agree: to do that in a letter-writing situation, where the document is directly addressed to someone and circulated among others would be to risk the receiver understanding the document as ridicule. I do grant that reading the letters to Fanny Austen this way helps make sense of the over-the-top extravagant praise Austen ladles out to Fanny (as she had in much earlier years to Cassandra and occasionally over Francis’s letters) and makes a consistent whole of the letter. But it is a radically different way than I have been reading the letters, which realistically I find improbable in a letter sent to someone (letters are not novels), so I’ll carry on as I’ve done, while referring the reader to the alternative view. A third view finds the letters to be sentimental and filled with affection for Fanny, her brother, even Miss Milles; that too I will refer the reader to in the comments.

The context is calamitous. Austen is dying, probably of lymphoma cancer; her nephew William has been sent either to stay and help his aunts and grandmother (possibly to carry Aunt Jane) either by staying at the cottage or up at the great house. He is carrying these letters to Steventon, Wyards and Godmersham and carrying the answers and prompting letters back.

The second letter is written 5 days before Sanditon’s second date of 18 March 1817; on that day Austen put down her pen and (presumably) wrote no more fiction. Remarkably, according to her letter to Fanny, she had just put Persuasion away and at the same time was revising but not yet satisfied with Miss Catherine (the name she called Northanger Abbey at this point). James-Edward Austen-Leigh in his 1870 Memoir of his aunt fills out the writing context only alluded to in Austen’s letter to Fanny. He tells us that she had been working on the text in July and felt she had finished it in middle August. But

her performance did not satisfy her. She thought it tame and flat, and was desirous of producing something better. This weighed upon her mind, the more so probably on account of the weak state of her health; so that one night she retired to rest in very low spirits. But such depression was little in accordance with her nature, and was soon shaken off. The next morning she awoke to more cheerful views and brighter inspirations: the sense of power revived; and imagination resumed its course. She cancelled the condemned chapter, and wrote two others, entirely different, in its stead. ° The result is that we possess the visit of the Musgrove party to Bath; the crowded and animated scenes at the White Hart Hotel; and the charming conversation between Capt. Harville and Anne Elliot, overheard by Capt. Wentworth, by which the two faithful lovers were at last led to understand each other’s feelings. The tenth and eleventh chapters of Persuasion then, rather than the actual winding-up of the story, contain the latest of her printed compositions, her last contribution to the entertainment of the public. Perhaps it may be thought that she has seldom written anything more brilliant; and that, independent of the original manner in which the denouement is brought about, the pictures of Charles Musgrove’s good-natured boyishness and of his wife’s jealous selfishness would have been incomplete without these finishing strokes. The cancelled chapter exists in manuscript. It is certainly inferior to the two which were substituted for it: but it was such as some writers and some readers might have been contented with; and it contained touches which scarcely any other hand could have given; the suppression of which may be almost a matter of
regret.

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Again from Miss Austen Regrets (2008): Olivia Williams as Austen doing her last writing

To Caroline Austen, Wednesday 26 February 1817, Chawton to Steventon

You send me great News indeed my dear Caroline, about Mr Digweed and Mr Trimmer, & a Grand Piano Forte. I wish it had been a small one, as then you might have pretended! that Mr Digweed’s rooms were too damp to be fit for it, & offered to take charge of it at the Parsonage. — I am sorry to hear of Caroline Wiggetts being so ill. Mrs Chute I suppose would almost feel like a Mother in losing her. — We have but a poor account of your Uncle Charles 2d Girl; there is an idea now of her having Water in her head. The others are well. — William was mistaken when he told your Mama we did not mean to mourn for Mrs Motley Austen. Living here we thought it necessary to array ourselves in our old Black Gowns, because there is a line of Connection with the family through the Prowtings & Harrisons of Southampton. — I look forward to the 4 new Chapters with pleasure. – -But how can you like Frederick better than Edgar? — You have some eccentric Tastes however I know, as to Heroes & Heroines. – -Good bye.

It’s irresistible to use this as an occasion to compare the editing of this volume to that of the Troide team of Frances Burney D’Arblay’s many diairies and journals and letters. Had this been Troide or any of his associates, at the bottom of the page the specific Mrs Chute would be named; we would not have to read about the family in another part of the book, and try to guess which one. A single name at the bottom of the page for Charles’s 2d girl would suffice and there is none here anywhere: Harriet I found out by reading Maggie Lane’s family tree in her JA’s Family.

It seems the Digweeds now have a grand pianoforte — and that Caroline, like her aunt, plays regularly so Austen wishes it had been smaller so Caroline could have had it. Sick and dying people — as in Sanditon as we have aging people in Persuasion. It was Mrs Mary Chutts who was childless and had mothered Caroline Wiggetts. It does seem as if disabilities were not uncommon among the Austens: uncle Thomas, brother George, Eliza’s young boy Hastings and now Harriet. We lack statistics to know how common this kind of thing was among these intermarrying people. We see how much of a formal ritual so-called mourning was: you wore it for distant connections. Caroline is still writing her novel and her aunt says she looks forward to more chapters — encouraging the girl kindly. She, Jane, cannot understand how Caroline prefers (presumably Caroline’s character) Frederick to Edgar. But she has “eccentric Tastes … as to Heroes and Heroines.” Austen tries to tease her niece in a kindly sense as two equal readers but it seems her strength suddenly gives out and we have a flat quick (as of sudden exhaustion) “Good bye.”

An alternative reading.

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The later scenes between Fanny Austen Knight (Imogen Poots) and Jane bring out the tension and conflict between aunt and niece — how their outlooks differed considerably (Miss Austen Regrets, 2008)

To Fanny Austen Knight, 13 March 1817, Chawton to Godmersham

Austen opens with elaborate superlatives once again for Fanny’s writing, using tones that recall the way she would write to Cassandra early on in the collection. She returns to this at the letter’s. I don’t detect the tone of using Fanny as a specimen this time

As to making any adequate return for such a Letter as yours my dearest Fanny, it is absolutely impossible; if I were to labour at it all the rest of my Life & live to the age of Methusalah, I could never accomplish anything so long & so perfect; but I cannot let William go without a few Lines of acknowledgement & reply … Adeiu my dearest Fanny –Nothing could be more delicious than your Letter; & the assurance of your feeling releived by writing it, made the pleasure perfect.-But how could it possibly be any new idea to you, that you have a great deal of imagination — You are all over imagination — the most astonishing part of your character is, that with so much imagination, so much flight of mind such unbounded fancies, you should have such excellent judgement in what you do? — religious
principle I fancy must explain it.

In her last letters in the collection Cassandra assures Fanny that her aunt did like her very much and that these letters from Fanny were seen as very kind and cheered Aunt Jane in a way that suggests they were deliberate performances. Perhaps there is sharp irony here: can she really be writing straight when she suggests the writer of Emma could not accomplish anything so perfect — and long too. As her early marveling over Cassandra was so ths is beyond me, except as flattery, placating, encouraging more letters. When she attributes Fanny’s powerful imagination (!) to “religious Princple” I can only infer Austen is writing down what she thinks most acceptable and assert before all her family (as the letter might be passed around), her respect for Fanny and how Fanny is growing up into respectable womanhood.

Fanny’s set-piece seems to have been a social vignette of dancing, partying. Mr Wildman was at the center and Jane now concludes he is not sufficinetly in love with Fanny to want a match. Unfortunately this comment makes her like Miss Bingley (whom we recall Darcy told that when women walk with a man they jump to the idea a marriage will soon take place). The flirtation here has apparently been going on for a while, and Fanny is again jealous of someone else finding favor with the male she herself doesn’t want: Jemima Branfill.

Then the long piece about the single dead woman in Austen’s earlier flippant style. She who so loved social life would have been sorry to stop the proceedings. While reading Mansfield Park these past weeks, I was reminded of how jaundiced Austen herself often is towards social life in the letters, how dysfunctional she often finds whatever the meeting so her sarcasms are in character. Miss Milles left nothing and now we get Austen’s famous statement about how single women have such a propensity to be poor, but then Fanny need not worry, (unlike her aunt) she does not lack inclination. The word “Molly” probably does not refer to 18th century GLBT people, but is like the other jokes in the family about names, as in “though he was a Richard (found in NA).

Poor Miss C. Mil1es, that she should die on a wrong day at last, after being about it so long! — It was unlucky that the Goodnestone Party could not meet you, & I hope her friendly, obliging, social Spirit, which delighted in drawing People together, was not conscious of the division & disappointment she was occasioning. I am sorry & surprised that you speak of her as having little to leave, & must feel for Miss Milles, though she is Molly; if a material loss of Income is to attend her other loss. — Single Women have a dreadful propensity for being poor — which is one very strong argument in favour of Matrimony, but I need not dwell on such arguments with you, pretty Dear, you do not want inclination.

Meanwhile Fanny should not be in a hurry. If she is she will end up old and endlessly pregnant before her time (like Anna). She will meet someone, she should stop worrying (it’s Fanny who is worrying lest she not get a man), and Austen assures Fanny that he will love Fanny as “warmly” as ever he did. The second “he” refers to Plumptre again as her proceeds to ask about the Plumptres (the Gibbs and Fanny and her husband are all Plumpres or related to them).

Well, I shall say; as I have often said before, Do not be in a hurry; depend upon it, the right Man will come at last; you will in the course of the next two or three years, meet with somebody more generally unexceptionable than anyone you have yet known, who will love you as warmly as ever He did, & who will so completely attach you, that you will feel you never really loved before. — And then, by not beginning the business of Mothering quite so early inlife, you will be young in Constitution, spirits, figure & countenance, while Mr Wm Hammond is growing old by confinements & nursing. Do none of the Plumptres ever come to Balls now? — You have never mentioned them as being at any? –And what do you hear of the Gipps?-or of Fanny & her Husband.

Then the thought of endless pregnancies brings her sister-in-law and Anna to mind. Cassandra and Mrs Digweed walked over: she again remarks as she has many times before on the size of Frank’s wife when she gets pregnant. this time not so very big for her. Austen voices how off-putting all this is. They fear another pregnancy and another miscarriage.

Mrs F.A. is to be confined the middle of April, & is by no means remarkably Large for her. — Aunt Cassandra walked to Wyards yesterday with Mrs Digweed. Anna has had a bad cold, looks pale, & we fear something else. She has just weaned Julia. — How soon, the difference of temper in Children appears! — Jemima has a very irritable bad Temper (her Mother says so) –and Julia a very sweet one, always pleased & happy.-I hope as Anna is so early sensible of its defects, that she will give Jemima’s disposition the early & steady attention it must require.

Austen is suggesting hard discipline early on for a young girl child. Doubtless this was done to children at the time. It requires Anna herself spend time endlessly monitoring and correcting. That it’s a form of unpleasant bullying brings to mind another governess they know who has been let go. Austen is surprised to hear Harriot (Mrs George Moore) is getting rid of their governess. Of course the governess does this kind of mean thankless work. Could Harriot want to do it herself? Austen puts down the firing to the governess not having flattered the lead male in the house. What’s not made explicit is the Moores would save money –though the salaries paid such women were very small.

I cannot understand their plans in parting with Miss S- whom she seems very much to value, now that Harriot & Eleanor are both of an age for a governess to be so useful to; especially as when Caroline was sent to School some years. Miss Bell was still retained, though the others were mere Nursery Children. — They have some good reason I dare say; though I cannot penetrate it, & till I know what it is I shall invent a bad one and amuse myself with accounting for the difference of measures by supposing Miss S. to be a superior sort of Woman, who has never stooped to recommend herself to the Master of the family by Flattery, as Miss Bell did.

And then she answers Fanny’s kind inquiry about her writing, which brings to mind her state of health (soon to stop the writing altogether

I am got tolerably well again, quite equal to walking about & enjoying the Air; & by sitting down & resting a good while between my Walks, I get exercise enough. — I have a scheme however for accomplishing more, as the weather grows springlike. I mean to take to riding the Donkey It will be more independant & less troublesome than the use of the Carriage, & I shall be able to go about with Aunt Cassandra in her walks to Alton & Wyards. –

Walking about and enjoying the air in the house I presume — with William’s help? Or are we to imagine she walked out in the garden behind the house — the front, as we know, was bricked up. She dreams of herself being independent of physical help by the use of a donkey. She now presents herself as wanting to go to Alton (where Henry had had his business) and Wyards (where Anna lived). Then a paragraph in praise of William — Fanny’s brother. He’s been nauseous or ill-tempered (irritable) – she is sure Fanny would approve of giving him doses. That’s a sarcasm shared between her and Fanny; she is teasing Fanny and expects Fanny to get that. Does Fanny like to give those she has to cope with as a mother substitute ill-tasting doses to make them behave?

Maximillan Hammond married Anna Maria Shaw and Austen says while she cannot care for them as people she can enter into their situation and be happy for them: she is not referring to the marriage itself. It’s good they are being married because of their situation. A brief excursis into a scandal about which LeFaye gives a full note — Austen pays attention to the fates and experiences of the women though cannot (she says) care about Caroline. Did Fanny in her letter identify? Austen’s dismissive tone suggests boredom as much as condemnation.

I admit her comment on Charles’s daughter Harriet as bit too Mrs Norris like — we must hope she’ll die if she is disabled (water on the brain) I remember how Eliza was faithful to her child, Hastings, and find in the sentence that Charles is not taking this attitude but cares very much. Suddenly the other niece is not there: the father has taken her back — someone to deflect the reality of Harriet. Charles’s sufferings are skimmed over in these letters — Remember the death of his wife from the endless pregnancies, what he saw her suffer at sea, his court martial and the psychosomatic reactions in his face. And then back to the over-the-top praise which might be explained as irony, half-mockery, but I take at least the the last three phrases as meant literally, closing with a “God bless you.”

An alternative view, with Diana Birchall writing a week later.

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Cassandra (Gretta Scacchi) and Jane sitting by the fire — Jane ill (Miss Austen Regrets 2008)

The next two letters are again to Caroline who continues to write a novel or stories and send them in “parcels” to her aunt (she’s also acting in rivalry to her older half-sister, Anna, who used to do this) and in response to one of Fanny’s seeking to entertain her very ill aunt, e.g., “I am very much obliged to you my dearest Fanny for sending me Mr Wildman’s conversation.”

The interest of the controversy is several fold: how do we regard the woman Jane Austen and how do we think she saw herself as a writer. I suggest there has been much anachronism and wishful thinking in the determination to see Austen as a writing professional altogether assured, confident and making sound decisions on her own behalf. Clearly her letter to Crosby was a mistake and it backfired; while she did write to Murray when Henry was sick, she followed Henry’s advice and didn’t take the good offer of 450£ — with the result she ended up making 38£ and some shillings after herself and Henry bearing the costs of publication. Sometimes you do sell your copyrights (Trollope did and that way made his money right away; he felt he could not control what would happen in the printings of his books after the first edition anyway.) But she goofed on Pride and Prejudice, understandable intensely eager to see it published. She was like the women described in Lee Virginia Chambers-Schiller’s book, Liberty, A Better Husband: Single Women in America: the Generations of 1780-1840, a woman living within her family group, dependent on and controlled by them (she needed her 25£ allowance); in her case she had a serious vocation, she wrote all the live-long day whenever she was allowed to. She might have become sure of herself could she have carried on writing and publishing (as she clearly was trying to do to the very end), but she is not as yet. She is still living a sheltered life.

How do we look at life-writing, at letters, how do they relate to the novel-writing of the same person. Clearly they will be closely connected, and the ironies of the novels will turn up in the letters, but the whole context and function of the document is altered between fiction sent out to the public and a letter to a relative: it’s more than genre, its use and how they will be taken by those who were their audience. Austen is in need of these people, gratitude is the emotion that emerges, including to William. Underlying her trying to be better by saying she is so is the plangent reality. It may not soften her outlook into the gush she writes — as we can see from her comments on people outside the family, but gush she does write, kindly to the younger niece and flattering the older one. Maybe she wished Fanny was all imagination, super-talented the way she had praised her siblings when younger, to defuse any conflicts, to keep her affectionate. She may be doing through letters what she had tried to do earlier through letters and living arrangements and visits: make an imagined charmed circle around her for now through writing letters.

In my book on Trollope I wrote a chapter distinguishing the characteristics of non-fiction from fiction, among these are the reality that in a letter all that we see moves outwards to real people, and is ever only a fragment of reality outside the letter. We can say we know all we need to know of a character and situation inside the novel by the novel’s world itself; we cannot of life-writing at all.

Ellen