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Archive for the ‘Jane Austen Circle’ Category

Janeite Deb:

Syrie James on her new novel “Jane Austen’s First Love” – don’t miss out on the giveaways from Austenprose and others on the Blog Tour! Can’t wait to read this – Love Syrie James’ books!

Originally posted on Austenprose - A Jane Austen Blog:

JAFL blog tour banner x 500

I am very pleased to welcome author Syrie James to Austenprose today to officially open her virtual book launch party and blog tour of Jane Austen’s First Love, published by Berkley Trade. This new Austenesque novel is a fascinating combination of fact and fiction, exploring the first romance of fifteen year-old Jane Austen with the handsome and sophisticated Edward Taylor. 

Syrie has generously offered a guest blog sharing her inspiration to write her new book—and to add to the festivities—we will be offering an amazing selection of giveaways including: trade paperback copies of Jane Austen’s First Love, a muslin tote bag stuffed with Jane Austen goodies, and a specially commissioned painting inspired by the novel. Just leave a comment following this blog post to enter. The contest details are listed below. Good luck to all. 

Please join us in welcoming Syrie James.

The inspiration for my…

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Janeite Deb:

JASNA-Vermont’s Kelly McDonald has an article in the new issue of “Jane Austen’s Regency World”!

Originally posted on Two Teens in the Time of Austen:

Just thrilled to bits to see the release of the July/August issue of Jane Austen’s Regency World magazine: my article on Margaret Meen is included:

Jane Austen Regency World_8-14

Margaret Meen – believed by some to have been governess to the four Smith sisters of Erle Stoke Park – AKA, Lady Northampton, Mrs Chute, Mrs Smith and Miss Smith – was definitely a painter (on vellum and paper) of botanicals, and a teacher. Including, as the JARW line suggests: to the Royal family of Queen Charlotte and her girls. I truly hope that I’ve uncovered a bit of “life” for this somewhat undiscovered artist — and invite you to seek out a copy of the full-color publication that promises to deliver “EVERYTHING that is happening in the world of Jane Austen“, including this tidbit of Smith & Gosling history.

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Janeite Deb:

Laurel Ann’s review of the book “Belle” by Paula Byrne – I highly recommend it…

Originally posted on Austenprose - A Jane Austen Blog:

Belle by Paula Byrne 2014 x 200From the desk of Laurel Ann Nattress: 

Commissioned by the producers of the new movie Belle, acclaimed biographer Paula Byrne aims to reveal the true story behind the main characters in the movie: Dido Elizabeth Belle, the illegitimate daughter of a captain in the Royal Navy and an African slave, and her great-uncle, William Murray, 1st Earl of Mansfield (1705-93) and Lord Chief Justice of the King’s Bench. Belle: The Slave Daughter and the Lord Chief Justice is both a companion volume to the popular movie and a time capsule into the turbulent abolition movement in the late eighteenth-century England.

Inspired by the 1779 portrait of Dido and her cousin Lady Elizabeth Murray, screenwriter Misan Sagay has written a compelling story based on facts she first learned of while visiting the 2007, Slavery and Justice Exhibition. Dido and Elizabeth were Lord Mansfield’s wards and raised together at…

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Lisa & Marie

Lisa & Marie

With hearty thanks to Lisa Brown for sharing her love of the Royal Navy with us Vermont Janeites, and to Marie Sprayberry for telling us of her shared-with-Jane rabid dislike of the Prince Regent and why, and displaying examples from her Georgian era royal collectibles – a most delightful day, despite the intense heat of Burlington’s heat wave and the Fletcher Free Library’s air conditioning on the fritz… [I have now successfully subjected our members and guests to one freezing December Tea where the computerized heating system refused to cooperate and we listened most intently to the two speakers, quietly shivering in our winter coats; and now the reverse of overheating the same members and guests with no air and loud fans in the skylight heated Pickering Room – as one guest bravely noted – “it was all a cost-free day in a sauna” ] – I find I have some control over these meetings, but alas! minus zero control over the weather and heating / cooling system snafus – I do apologize and thank you for your tolerance and good grace as an audience…

That said, extra kudos go to the models who courageously wore their wool-clad Royal Navy uniforms with elegance and style, as they paraded for us samples from Lisa’s wonderful collection.  Here are a few pictures with descriptions of each, with thanks to our fearless models for being such good sports:

able seaman-MH

 Marilyn as appropriately clad “able seaman”
[photo: c2014 M. Harrington]

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Jim in the green Sharpe’s uniform of the “95th Rifles”
[see: http://www.95thrifles.com/history-95th-p1.html ]
[photo: c2014 M. Harrington]

Jess-red

Jess and her redcoat from the Royal Welch Fusiliers

 Carol-USNavy

Carole in the blue and red uniform as a “US” Navy Lieutenant during the Revolutionary War

 Jay-rearIMG_3647

 Jay [a.k.a. Captain Wentworth] in an 1812 Royal Navy Captain’s uniform, deservedly admiring his epaulette
[see: http://collections.rmg.co.uk/collections/objects/71310.html ]
[top photo c2014 M. Harrington]

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And a group shot of us all with Lisa (minus the able seaman, who had left to swab the deck), and with yours truly in the quickly donned uniform of a French Navy Lieutenant.

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Marie’s talk on the Prince Regent was cut short near the end by the heat and near fainting attendees, which was too bad as we were all quite taken with her chat on the dastardly Prince and his wicked ways – you can read the rest of her talk here in Persuasions-OnLine 33.1 (2012):

“Sex, Power, and Other People’s Money: The Prince Regent and His Impact on Jane Austen’s Life and Work” http://www.jasna.org/persuasions/on-line/vol33no1/sprayberry.html

sprayberry-fig-6a-caro-jug

 “Long Live Queen Caroline!” ceramic jug (1820)
[from the collection of A. Marie Sprayberry and Edward R. Voytovich;
photo by E. Voytovich] [see the POL article for more images of Marie's collection]

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All in all a great day, with a great audience, and a fun weekend with Marie and Lisa, here cavorting about at the incomparable Shelburne Museum… Marie (left) and Lisa (right) on a Vermont covered bridge:

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 Gaoled JASNA Regional Coordinators Marie and Lisa (hoping to be released in time for the Montreal AGM]

[All images c2014 by Deb Barnum, unless otherwise noted; and with special thanks to Margaret Harrington!]

  c2014 Jane Austen in Vermont

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I have something in hand – which I hope on the credit of P. & P. will sell well, tho’ not half so entertaining. (Ltr.  86: 3 – 6 July 1813, to Capt. Francis Austen)

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Dear Gentle Readers: This history of the publishing of Mansfield Park serves as an introduction to Sarah Emsley’s seriesAn Invitation to Mansfield Park,” which will begin on May 9th on her blog. As we celebrate this bicentenary of Austen’s third novel, published in May 1814, it seems only right to begin at the beginning, from when Austen first makes mention of Mansfield Park in her letters and its subsequent road to publication, to the later printings and early illustrated works. I am posting it here because of its length and number of illustrations – and Sarah will be re-blogging it immediately. Please continue to visit her blog for the interesting posts she has lined up for the next several months from various Jane Austen scholars and bloggers – a worthy tribute as we all give Mansfield Park the undivided attention it deserves!

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The Publishing of Mansfield Park

We have Cassandra’s word that Jane Austen began Mansfield Park “sometime around February 1811 and finished soon after June 1813.” Letters during this time [you can read all the letters relating to Mansfield Park here] indicate that at least Cassandra was already very familiar with this work-in-progress – a few of the letters show how diligent Austen was in checking her facts about ordination and hedgerows, ships of the Royal Navy, and correct terminology for the Gibraltar “Commissioner.”

Early readers of the letters took her reference to “Ordination”

Now I will try to write of something else; – it shall be a complete change of subject – Ordination. (Ltr. 79: 29 Jan 1813)

to mean this was the theme of her next book, i.e. Mansfield Park. It is now generally accepted that she was just acknowledging her request in a previous letter for information on the process of ordination – to get it right about Edmund. (But see Michael Karounos, “Ordination and Revolution in Mansfield Park.” SEL 44.4 (2004): 715-36, for a discussion of what Austen meant by this word “ordination” and how it is indeed the theme of the novel.)

 

HenryAusten-jasna-Zohn

Henry Austen

[image: JASNA.org / Zohn]

Henry has this moment said that he likes my M. P. better & better; – he is in the 3d vol. – I believe now he has changed his mind as to foreseeing the end; – he said yesterday at least that he defied anybody to say whether H.C. would be reformed, or would forget Fanny in a fortnight.  (Ltr. 98: 8 Mar 1814).

…indeed the question that has been plaguing readers ever since!

Austen is traveling with Henry to London in March 1814 to negotiate its publication with Thomas Egerton; Henry is reading the manuscript for the first time, i.e. he was not in on the story during its composition over the past two years, as Cassandra was – Henry did not see it until it was ready for the press. It is also telling that her primary interest is Henry’s opinion concerning the ending and what happens with Henry Crawford!

Mansfield Park was being written at the same time Austen was revising Pride & Prejudice for publication [published in January 1813] – Janet Todd makes note of this allusion to the first sentence of P&P: “…there certainly are not so many men of large fortune in the world, as there are pretty women to deserve them.” (Todd, 75). Was Austen perhaps making a sly nod to her previous novel? MP is also the first work to be entirely written after settling in Chawton in 1809. The secret of her authorship is already out, thanks largely to Henry, though she will continue to publish anonymously. She writes to her brother Francis in September 1813:

Francis Austen - wikipedia

Francis Austen – wikipedia

 

…the Secret has spread so far as to be scarcely the Shadow of a secret now – & that I beleive whenever the 3d appears, I shall not even attempt to tell Lies about it. – I shall rather try to make all the Money than all the Mystery I can of it… (Ltr. 90: 25 Sept 1813)

The internal chronology has created its own controversy among scholars and readers – it is an especially important issue when deciphering her references to slavery (the topic of another post!). John Wiltshire in his introduction to The Cambridge Edition of Mansfield Park (2005) wonders why this book took so long to write (Feb 1811-June 1813), longer than her other works, and why the nine-month delay in getting it to London for publishing (March 1814). He speculates that “Mansfield Park is a novel carefully revised and perhaps thoroughly rewritten” and this accounts for the discrepancies in time, what he calls the “double-time scheme.” (Wiltshire, xxxi). But the delay could also be attributed to the long illness of Henry’s wife Eliza and her death in April of 1813. (Wiltshire, xxvii). [See links below for the chronologies.]

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This detective work on the composing of Mansfield Park is so very interesting, and essential to interpreting Austen’s intent in this controversial and often misunderstood novel. We are left largely with speculation and a host of unanswered questions. But today I am going to talk about the physical object, the book Mansfield Park as part of our material culture – how it came to be, what it looked like, who bought it and what it cost, followed by a brief introduction to the later printing history that included the American, illustrated and foreign editions.

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The 1st Edition:

MP-1sted-titlepageMansfield Park title page – 1st edition

Like her S&S and P&P, Mansfield Park was published by Thomas Egerton in 1814. The title page states: “By the Author of ‘Sense & Sensibility,’ and ‘Pride & Prejudice.’” Writing to Francis on March 21, 1814, she hopes that

Perhaps before the end of April, Mansfield Park by the author of S&S. – P.&P. may be in the World. Keep the name to yourself. I sh’d not like to have it known beforehand. (Ltr. 100)

But it is not advertised until May 9, 1814, in The Star, and again on May 14, and further noted in The Morning Chronicle of May 23 and 27. Published on commission – Austen retained the copyright, paid for the costs of paper, printing, and advertising; the publisher distributes to the trade and takes about 10% of the profits – the author loses if the book does not sell well. This third novel came into the world in a run of about only 1250 copies, in 3-volumes, and sold for 18 shillings in boards. And it sells well – Austen writes in November of 1814 You will be glad to hear that the first Edit. of M.P. is all sold.” (Ltr. 109). As with all the finished novels, excepting the cancelled chapters of Persuasion, there is no manuscript.

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*What did it look like?

FirstEdP&P-NLScotland

Pride and Prejudice 1st ed. – National Library of Scotland

The popular 3-volume format, called a “triple-decker” or a “three-decker,” was typical for novels of the day – what Susan Wolfson calls “a reader-friendly form for sequential purchasing and borrowing and family sharing.” (Wolfson, 112). This image is of a nearly perfect first edition of Pride & Prejudice at the National Library of Scotland – Mansfield Park would have looked like this, bound in blue-gray paper boards, with gray-brown or off-white paper backstrips and white paper spine labels. As Egerton engaged two different printers, many variations in quality and type result in the text. The volumes are 12mo, or duodecimo [about 7-8 inches], i.e. the original printed sheet has been folded four times to its constituent 12 leaves, resulting in 24 pages with about 23 lines to the page. [Note that P&P had 23 lines to the page; MP had 25 lines]

R. W. Chapman, editor of the Oxford complete works in 1923, writes in his memoir The Portrait of a Scholar:

“Those who have once read P&P in three slim duodecimos, with a ha’porth [= a halfpennyworth] of large type to the page, will not easily reconcile themselves to the inelegance of the modern reprint, close printed in one crowded volume.”  

…as you can see from this first page of Pride & Prejudice: FirstEdP&P - firstpage 4
But Mansfield Park was printed on much cheaper paper than P&P, with 25 lines to the page. Chapman, who relied on the 2nd edition of MP for his Oxford works, said that “of all the editions of the novels, the 1st edition of Mansfield Park is by far the worst printed.” (Chapman, xi-xii). Much scholarly debate has centered around the errors in the text, especially the lack of consistency in the spelling, grammar, and punctuation. We are reminded of Henry Tilney’s complaint to Catherine Morland about women letter-writers, where there is “a general deficiency of subject, a total inattention to stops, and a very frequent ignorance of grammar,” a criticism often directed at Austen herself! (I discuss this further under the 2nd edition below).

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*Who bought copies? 

-At a cost of 18s in boards – remember: 20 shillings = a pound – the average person earned maybe 15-20 pounds / year – so who was actually buying books? [See Wolfson on this]

  • ½ purchased by circulating libraries
  • ½ were purchased by the titled gentry and upper middle classes, who would often rebind the volumes in leather for their private libraries, an example here:

MP-1sted-3vol-Jonkers

 Mansfield Park – 1sted, rebound – image: Jonkers Rare Books, UK

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* Who reviewed it?

- There were no contemporary reviews of Mansfield Park. Wiltshire rather humorously compares this to the treatment of Fanny Price in the tale: “neglected, passed over, misunderstood, sneered at and ill-used” (Wiltshire, lvii). This lack of notice certainly distressed Austen. She kept a list of “Opinions of Mansfield Park” from family and friends (she later did the same for Emma) – a selection first appeared in James Edward Austen-Leigh’s Memoir of Jane Austen (1870), and all were published in Chapman’s edition of “Plan of a Novel” in 1926, and later reprinted in the Minor Works volume in 1954. You can read them here at Jane Austen’s Fiction Manuscripts in their original and transcribed form:

OpinionsMP-JAFM

 “Opinions of Mansfield Park” – from “Jane Austen’s Fiction Manuscripts”

As you can see, the commentary from the time differs little from today: better than P&P / not as good as P&P; Fanny not likeable / Fanny the best; love Mary Crawford / hate Mary Crawford; Will Fanny marry Henry or Edmund?; Not enough love between Hero and Heroine, etc., etc. – all the same arguments we go round and round with! I especially like Cassandra who “delighted much in Mr. Rushworth’s stupidity,” and Mrs. Austen: “My Mother — not liked it so well as P. & P. — Thought Fanny insipid. – Enjoyed Mrs. Norris.”

Austen was later piqued by the 1816 review of Emma in the Quarterly Review (March 1816), and now known to be by Walter Scott. She writes to John Murray on April 1, 1816 (Ltr.139):

The Authoress of Emma has no reason I think to complain of her treatment in it – except in the total omission of Mansfield Park. – I cannot but be sorry that so clever a Man as the Reveiwer of Emma should consider it as unworthy of being noticed.

Did Jane Austen know this review was by Scott? – We can only conjecture…

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*Where can you see a copy?

-David Gilson, in his Bibliography of Jane Austen, lists the various institutions and individuals who own first editions of Mansfield Park – certainly available for viewing in many of the major libraries in the US and UK. Of special interest is Cassandra’s copy, held by the University of Texas at Austin.

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*The 2nd Edition:

MP-2ded-titlepageHaving sold the copyright of Pride & Prejudice to Egerton outright, Austen was unable to make any changes to its 2nd and 3rd editions. But for Mansfield Park she was able to correct the many errors of spelling and punctuation and made several technical edits. She hoped for a quick edition after November 1814 - it is not settled yet whether I do hazard a 2d Edition. We are to see Egerton today… (Ltr. 114). But Egerton did not publish – Did he refuse? Not offer good terms? Or was Jane Austen displeased with Egerton for the poor and mistake-ridden printing of the first?

She moved to the firm of John Murray to publish her Emma, and Murray took on the 2nd edition of MP as well. She writes on December 11, 1815 to Murray: I return also, Mansfield Park, as ready for a 2d Edit: I beleive, as I can make it. (Ltr. 130).

Austen likely gave him a marked up copy of the 1st edition. Succeeding editions have offered varying texts to the reading public, beginning with Richard Bentley’s “Standard Novels Series” of 1833 to Chapman’s Oxford edition of 1923, with his full textual analysis of the two editions, choosing the 2nd as the preferred text.

This analysis continues as to author intent (see for example Claudia Johnson’s “A Name to Conjure With,” Persuasions 30 (2008): 15-26), and current scholarly editions collate the two editions, updating Chapman, and offer the reader all instances of variation and a certain amount of confusion.

MP-Penguin2-ebayFor the Penguin edition of 1996, Kathryn Sutherland relies on the 1st edition and includes seven pages of textual variants between the two editions. In her Textual Lives, Sutherland explains her preference for the first edition, feeling that Chapman’s “improvements” in his Oxford edition, especially those of punctuation, were at odds with [his] commitment to ‘recovery and restoration’ of the text. (Sutherland, 2007, 292).

Claudia Johnson in her Norton Critical Edition of Mansfield Park (1998) favors the 2nd edition – she praises Chapman for his “monumental achievement” in creating the Oxford Works, but finds his practice in collating the 2 editions was at times “capricious” and without justification. In writing of all the punctuation and spelling variants, Johnson surmises that Austen may have been relying on the printer to make corrections, as was often the practice in publishing at this time in order to ensure uniform punctuation. [Johnson cites Caleb Stower The Printer’s Grammar; or, Introduction to the Art of Printing (London, 1808).] (Johnson, xviii – xix).

MP-Cambridge

John Wiltshire, in editing the 2005 Cambridge edition, returns to the text of the 2nd edition as Chapman had, concluding that both “Austen and Murray wished to produce a second edition of the novel which, whilst it may not have been closer than the first to the author’s original manuscript, would be more creditable to both.” (Wiltshire, xxxix).

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*What did it look like?

750 copies were printed, published also on commission, Austen paying costs up front. It is again in the 3-volume format, set by three different printers, again an explanation for the lack of consistency; boards were gray-brown paper or blue-gray, on better quality paper. It was advertised in The Morning Post on February 19, 1816 and sold for 18 shillings. It did not sell well and most copies were remaindered; her costs were set against her profit on Emma, which as a result made little for her.

 

-It is important when reading your Mansfield Park to note which edition it is based on – these many variations, be they mistakes in the 1st edition, Austen’s own corrections for the 2nd, printer errors in both, or the various editorial decisions in subsequent publications, often change the meaning of the text, and trying to determine Austen’s intention just adds to the many questions we would ask her if we could…

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Other Editions of interest:

*1st American Edition:

1stAmerEd-Swann-MP-11-21-13Mansfield Park – 1st Amer. Ed. Swann auction 11-21-13

The first of Austen’s novels to be published in America was Emma in 1816 by Matthew Carey of Philadelphia. It is unlikely that Austen knew of it. Mansfield Park first appeared in 1832 published by Carey & Lea, in two volumes, with a title page stating “by Miss Austen, Author of ‘Pride and Prejudice,’ ‘Emma,’ etc. etc.,” in drab paper boards with purple cloth spines and white paper spine labels. 1250 copies were printed, with a number of variations from the British text, most referring to the Deity, such as:

  • “Good Heaven!” = “Indeed!”
  • “Some touches of the angel” = “Some excellencies”
  • And Mr. Price’s many “By G__” are just completely omitted!

These 2-volume editions sold for around $2.00 and are quite rare today in the original boards.

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*First Translated Edition:

Mansfield Park was first translated into French and published in a series of extracts in 1815 in the Swiss periodical Bibliothèque britannique. A year later the 4-volume Le Parc de Mansfield, ou Les Trois Cousines par l’Auteur de Raison et Sensibilité, ou Les Deux Manières d’Aimer; d’Orgueil et Préjugé, etc. Traduit de L’Anglais, par M. Henri V*****N [Vilmain], Paris, 1816, appeared. [see title page above] This translation is readily available today in a paperback reprint published by Hachette Livre.

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*The First Sequel:

Brown-SusanPrice-cover-amMansfield Park does not have the following of P&P, where sequels and retellings abound. But of interest is the first such for MP, titled Susan Price, or Resolution by Mrs. Francis Brown (London: John Lane / Bodley Head, 1930.) It concerns Susan Price’s romance with her cousin Tom Bertram (Gilson, 423). Mrs. Brown is Edith Charlotte Hubback, great grand-daughter of Francis Austen. She also wrote continuations to S&S (Margaret Dashwood, or Interference, 1929) and a completion of The Watsons in 1928, as well as co-authored Jane Austen’s Sailor Brothers (1906).

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*The First Illustrated Edition:

The topic of Jane Austen’s illustrators would take more than an entire book! – so will just here note that the first illustrated edition of any of Austen’s novels was the French translation of Persuasion as “La Famille Elliot” in 1821 – it was also the first edition to name “Miss Jane Austen” as the author.

Mansfield Park was first illustrated in the Richard Bentley one volume edition of 1833, with an engraved frontispiece and title page vignette by William Greatbatch after George Pickering. The frontispiece is of Fanny trying on the infamous necklace with the caption:

MP-1833-frontis-tp-abe2 Mansfield Park – 1833 ed. frontispiece and title page [image: ecbooks, UK (abebooks)]

“Miss Crawford smiled her approbation and hastened to complete her gift by putting the necklace around her, and making her see how well it looked.” [this differs from the text!]

The title page vignette is of Sir Thomas encountering Mr. Yates on the stage, with Tom lurking in the background:

“The moment Yates perceived Sir Thomas, he gave perhaps the very best start he had ever given in the whole course of his rehearsals.”

[You can view them here at Google Books.]

These fashions are quite from the wrong era! – looking more like those from the 1940 film of P&P! It was not until the Dent edition of 1892 by R. Brimley Johnson with the illustrations of William Cooke and decorations by F. C. Tilney (no relation to the adorable Henry!) that illustrators actually got the Regency right. And these were rather quickly replaced by the Brock brothers for the Dent edition of 1898. H. M. Brock illustrated the Mansfield Park volume with a frontispiece and five plates:

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“In vain were the well-meant condescensions of Sir Thomas”

Mansfield Park, illus. H. M. Brock (Dent 1898) [Mollands]

MP-HMBrock-alone

“Miss Price all alone!”

Mansfield Park
, illus. H. M. Brock (Dent 1898) [Mollands]

And C. E. Brock later captured the same Yates / Sir Thomas scene in his Dent edition of 1908:

MP-CEBrock-Yates-SirThomas-mollands

 “A ranting young man who appeared likely to knock him down backwards”

Mansfield Park, illus. C. E. Brock (Dent 1908) [Mollands]

Our favorite illustrator Hugh Thomson, like the Brock Brothers, had a more humorous approach to the novels. As he had in his 1894 George Allen edition of P&P, Thomson illustrated Mansfield Park with a frontis and 39 line drawings. This was published in 1897 by Macmillan and included an introduction by Austin Dobson. An image here of Fanny and Henry Crawford:

MP-Thomson-hc-fanny-rop Mansfield Park, illus. Hugh Thomson (Macmillan 1897)  [Republic of Pemberley]

  Another important illustrated edition to note was the 1875 Groombridge edition (London), with a lithograph frontis and six plates after drawings by A. F. Lydon (Alexander Francis Lydon). The only Austen novel from this publisher, and hard to find today, the illustrations offer a more serious, darker vision of the novel, with purplish-gray toned illustrations emphasizing Fanny’s isolation from the Park and all those in it. (See Carroll, 67).

MP-illus-Groombridge1875-CarrollMansfield Park, illus. A. F. Lydon (Groombridge, 1875)

You can view the novel and the other plates by Lydon here at Google Books

The numerous illustrated editions that have followed, right up until today, show these varied approaches to the tone of this novel. I’ve read Mansfield Park a good number of times – I find I would take a very different view from one reading to the next if I was attempting to illustrate the text. What about you? – how would you illustrate MP?

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*What is it worth today?

-Prices vary, so this is a ball-park estimate with a few recent auction examples: note that the book in its original state, i.e. the paper-covered boards in the case of Mansfield Park, will have a higher value than even the most beautifully bound set – this is the first rule of book collecting; condition, condition, condition is the second! These estimates noted here are taken from the Quill & Brush Author Price Guide for Jane Austen, 2007, and are based on auction sales and bookseller catalogues.

  • 1st edition: in original boards = $75, 000. / rebound = $25,000.
  • 2nd edition: in original boards = $25,000. / rebound = $5,000.
  • 1st American ed.: in original boards = $10,000. / rebound = $3,500. – rare in original boards
  • Bentley edition of 1833: vary from $3,000 – $5,000.

Available at present online are two 1st editions, all rebound and of varying condition – one is on sale for $15,000, one is for $38,000. There is also a 2nd edition in original boards online for $10,000. You can begin your search here at abebooks.com.

MP-1stEd-leather-Sothebys-MP-12-5-13

Mansfield Park – 1st ed. Sothebys 12-5-13

Recent Auctions:

1. This 1st edition sold at Sothebys in December 1813 for $13,750.; but a rebound 2nd edition recently sold for as little as $688. – so buyer beware!

2. 1st American edition, 2vols, Philadelphia: Carey & Lea, 1832. 8vo, original publisher’s 1/4 cloth-backed drab boards, lettering labels on. Estimate $4,000 – 6,000.; Price Realized $5,376.

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This only gives a brief introduction to the very varied and interesting publishing history of Austen’s third novel, with all the decorative bindings, illustrators, and scholarly editing and introductions not being touched upon here. She of course saw only the first and second editions, in their drab boards – what would she make of this visual feast of editions through the past 200 years? What would she think of the great variety of illustrations of her Fanny and Edmund, and Mary and Henry Crawford, Lady Bertram and her pug, and Sir Thomas and Mrs. Norris? And while she earned a meager £320 for Mansfield Park alone, what would she think of the costs of these first editions today?

A full collection of Mansfield Park will not take up as much space on your bookshelves as a collection of Pride & Prejudice – but the variety is just as beautiful and desirable – whether you think Fanny a “creep-mouse” or an independent woman who learns to value herself as others finally do, the book itself, in all its many incarnations, will always be worth your study, will always satisfy your collecting habits – like Fanny herself, you too can become “a subscriber – amazed at being anything in propria persona, amazed at [your] own doings in every way; to be a renter, a chuser of books!”

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One of my favorite covers: MP-Routledge-1900-LastingWords

Mansfield Park (Routledge, 1900) – Lasting Words, UK for sale for £125 on abebooks

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Further reading: with lots of Mansfield Park bindings!

References:

Austen, Jane. Jane Austen’s Letters. 3rd ed., edited by Deirdre Le Faye. Oxford, 1997. [I have the 4th edition but alas! it is not with me at present, so I continue to cite the 3rd ed.]

_____. Mansfield Park. Ed. R. W. Chapman. Oxford, 1966.

_____. Mansfield Park. Ed. Claudia L. Johnson. Norton, 1998.

_____. Mansfield Park. Ed. James Kinsley. Introd. Jane Stabler. Oxford, 2008.

_____. Mansfield Park. Ed. Kathryn Sutherland. Penguin, 1996.

_____. Mansfield Park. Ed. John Wiltshire. Cambridge, 2005.

_____. “Opinions of Mansfield Park.” Jane Austen’s Fiction Manuscripts. http://www.janeausten.ac.uk/manuscripts/blopinions/1.html

Carroll, Laura, and John Wiltshire. “Jane Austen, Illustrated.” A Companion to Jane Austen. Ed. Claudia L. Johnson and Clara Tuite. Wiley-Blackwell, 2009. 62-77.

Chapman, R. W. Portrait of a Scholar. Oxford, 1923.

Gilson, David. A Bibliography of Jane Austen. Oak Knoll, 1997. The most invaluable resource of all. If you are collecting Jane Austen, you need this book!

Karounos, Michael. “Ordination and Revolution in Mansfield Park.” SEL 44.4 (2004): 715-36.

Sutherland, Kathryn. Jane Austen’s Textual Lives: From Aeschylus to Bollywood. Oxford, 2007.

Todd, Janet. The Cambridge Introduction to Jane Austen. Cambridge, 2006.

Wolfson, Susan J. “Re: Reading Pride and Prejudice ‘What Think you of Books?’” A Companion to Jane Austen. Ed. Claudia L. Johnson and Clara Tuite. Wiley-Blackwell, 2009. 112-22.

~

The Chronology of Mansfield Park:

They both argue for a 1808-09 time frame beginning with the Ball in December.

  • Brian Southam in his “The Silence of the Bertrams.” (TLS 17 Feb 1995: 13) argues for an 1812-13 scheme.

***************

MP-Thomson-1897-horse2

“How much I used to dread riding”

Mansfield Park, illus. Hugh Thomson (Macmillan 1897) [Internet Archive]

 

c2014, Jane Austen in Vermont

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JARW69-cover
The May/June 2014 issue (No. 69) of Jane Austen’s Regency World magazine is published and is being mailed to subscribers this week.

In it you can read about:

•An exclusive interview with Deirdre Le Faye, doyenne of the Austen world, about her career as a Janeite and her new book

cover-lefaye

[Note: Le Faye’s new book, Jane Austen's Country Life: Uncovering the Rural Backdrop to her Life, Her Letters and Her Novels, is due out June 1, 2014 from Frances Lincoln]

Belle, the new film about Lord Mansfield’s great-niece, is out soon

[Note: the film is released May 1, 2014; cover image is of Belle, played by Gugu Mbatha-Raw; for more information and the trailer see http://www.foxsearchlight.com/Belle/ ]

•Could an eminent harpist have discovered Jane ‘s piano tuning key?

Godmersham 1779 - wikipedia

Godmersham 1779 – wikipedia

•Glorious Godmersham: a visit to the home of Edward Austen Knight

•Adlestrop, the village that influenced both Jane and a poet

•How Georgian England was fascinated by spiritualism and the supernatural

*Plus News, Letters, Book Reviews and information from Jane Austen Societies in the US, UK and Australia

*************

To subscribe [and you should!] click here – and make sure that you are among the first to read all the news from Jane Austen’s Regency World.

 c2014, Jane Austen in Vermont

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Dear Gentle Readers: Continuing in my efforts to celebrate all things Mansfield Park through 2014, I welcome today Tony Grant, of London Calling fame, who writes on the visit to Sotherton, that all-important metaphor-filled dramatic scene in the novel where character is revealed, plot points are suggested, sides are taken, and where Fanny, in her usual state of aloneness, observes it all – Tony’s emphasis is on the concept of “improving” the estate.

**************

A Visit to Sotherton Court

harlestone-jasaHarlestone House, Northamptonshire, which has some of the elements of Sotherton. From Jane Austen Town and Country Style by Susan Watkins (Thames & Hudson, 1990) [from JASA website]

~

Eighteenth-century gardens were not merely intended to be pretty places for listening to birdsong and observing plants and trees. Of course you could do that if you wanted to but they were much more than that. The new landscaped gardens of the 18th century “improved” nature, reflected European landscape art of the time and were spiritual and emotional places. Jane Austen, by introducing the idea that her characters in Mansfield Park should visit Sotherton and provide suggestions for the “improvement” of the landscape, was creating a situation where individuals would be able to express their “taste,” and so reveal their inner characters. This scene in Mansfield Park is full of metaphors, which indeed an 18th century landscaped garden itself would embody. At Sotherton there is the ancient Tudor mansion, dark and sombre from the past; the ancient oak avenue, about which Fanny feels so concerned, and the wilderness.

Tom Bertram, who Miss Crawford found entertaining company, decides to take off for the races at B…… Nobody expects him to return for weeks so Maria Crawford prepares herself for a less lively time at the dining table at Mansfield Park. However, no sooner had Tom Bertram left the scene but Mr Rushworth, Maria Bertram’s betrothed, appears, just returned from his own travels to visit his friend, Smith, who has had his property Compton improved by an “improver.” Mr Rushworth’s head is full of thoughts for now improving his own estate at Sotherton. This was no light matter in the 18th century. The process involved the revealing of a person’s “taste.” The concept of acquiring taste in the 18th century was a serious matter. Young men from wealthy and aristocratic families travelled Europe on what was termed the Grand Tour to finish their education and to acquire “taste” by visiting the art galleries of Europe and visiting the houses and homes of the European aristocracy to observe all the new concepts in architecture and landscape design. The wealthy employed architects and landscape gardeners to turn their estates into examples of “taste” for them.

In the mid-18th century the social commentator George Coleman decried the great fashion of his time:

“Taste is at present the darling idol of the polite world…The fine ladies and gentlemen dress with Taste; the architects, whether Gothic or Chinese, build with Taste; the painters paint with Taste; critics read with Taste; and in short, fiddlers, players, singers, dancers, and mechanics themselves, are all the sons and daughters of Taste. Yet in this amazing super-abundancy of Taste, few can say what it really is, or what the word itself signifies.”

In Mansfield Park, it seems everybody is asked their opinion. Mr Rushworth is the only one who apparently doesn’t have a clue.

“I must try to do something with it,” said Mr Rushworth, “but I do not know what. I hope I shall have some good friend to help me.”

This is a terrible admission in the 18th – early 19th century from one who is the owner of an estate, who is wealthy, and who has apparently had all the advantages.

Miss Bertram answers him with restrained disdain,

“Your best friend upon such an occasion, said Miss Bertram, calmly, “would be Mr Repton, I imagine.”

Mrs Norris provides her view,

“Such a place as Sotherton Court deserves every thing that taste and money can do….planting and improving.”

Lady Bertram puts her view, “…..a very pretty shrubbery.”

And even, shy, mouse-like Fanny Price confidently disagrees with Mr Rushworth when he suggests that an ancient oak avenue should be cut down…

“Cut down an avenue! What a pity. Does not it make you think of Cowper? ‘Ye fallen avenues once more I mourn your fate unmerited.’”

All that poor Mr Rushworth can say meekly is, “I think I shall have Repton.”

It seems as though Mr Rushworth cannot win and the whole discussion shows him to have inferior or no taste at all. A terrible handicap.

Stoneleigh Abbey

Stoneleigh Abbey

Stoneleigh Abbey, perhaps a source for Sotherton Court, especially the Chapel scene – image from a guide book to Stoneleigh Abbey in Henley, Staffordshire, printed by Wood, Mitchell and Co Ltd. ( Windows on Warwickshire website)

When everybody is at Sotherton the unsuitableness of the house and its estate is apparent:

Henry Crawford was looking grave and shaking his head at the windows. Every room on the west front looked across a lawn to the beginning of the avenue immediately beyond tall iron palisades and gates.”

There is a lengthy discussion about how they are to tour the estate. Carriages are suggested and who is going to go with whom and which horses should be used is detailed, and Mrs Norris fusses at her fussiest best:

“Mrs Norris was beginning to arrange by what junction of carriages and horses most could be done, when the young people, meeting with an outward door, temptingly open on a flight of steps which led immediately to turf and shrubs and all the sweets of pleasure grounds, as by one impulse, one wish for air and liberty, all walked out.”

And they all emerged into the wilderness. It is strange, but from this point onwards all thought of “improvements” seems to dissipate. Well, apart from one lame joke:

“Mr Crawford was the first to move forward (Where did they think they were? An alien planet?) to examine the capabilities of that end of the house.”

This is so corny. Jane must have had a chuckle to herself over that pun.

Mr Rushworth at the gate - CE Brock (Mollands)

Mr Rushworth at the gate – CE Brock (Mollands)

For most of the time in the wilderness Fanny is abandoned. She interacts, first with Edmund and Maria Crawford, when they are “clumped” together like a copse of trees; but Edmund and Miss Crawford wander off leaving her alone. Mr Crawford, Miss Bertram and Mr Rushworth then meet her, but Mr Rushworth returns to the house to get the key to let them out of the locked gate that leads from wilderness to the park beyond. Mr Crawford and Miss Bertram, impatient, wander off too and find their own way into the park and aim for a grassy knoll where they can get a better overview of the “situation.” Fanny sits worrying about everybody. There seems to be a loss of etiquette and social standards. There is a sense of the loosening of society’s usual rules. The very name “wilderness” suggests biblical references and a wild place of danger. There are unlocked doors, locked gates, iron fences, hidden barriers in the form of a ha-ha, and an open world beyond the park – a myriad of things that can be seen as psychological and social barriers as well as physical barriers.

“In the late 18th century the term ‘wilderness garden’ meant something different from what we might think of it these days in the modern world of horticulture. Inspired by the Grand Tour and the new literary form of nature poetry by Romantic poets such as Wordsworth and Coleridge, these fashionable wilderness gardens satisfied the demand for the world beyond the gate. They were tamed, but not entirely.They were a place where well-heeled ladies and gentlemen could experience a frisson from a brush with nature without ever having to stray too far from the relative safety of the English countryside. And they were a direct contrast to the formality of gardens nearer the great house where everything was managed and controlled.” ["Witley Court's Wilderness" at English Heritage.org]

********** 

There is a wonderful example of a “wilderness” in the grounds of Hampton Court. It is not a very large area, perhaps no larger than a cricket field, and from it you can see the Lion Gate, the palace through the trees and doorways through the surrounding brick wall into the more formal gardens. It is an area comprising a web of pathways dissecting a meadow which in the spring is carpeted with bluebells and daffodils. These untamed lawns are set beneath a woodland of apparently randomly growing trees. The area is shaded and has a feel of freedom, an untamed essence.

Hampton Court (Wikipedia)

Hampton Court (Wikipedia)

 

The guide book to Hampton Court says,

“The term ‘wilderness’ refers to a place to wander, rather than an uncultivated area of garden. William III would have walked through the wilderness at Hampton Court Palace with his devoted wife Mary II. It would have comprised 18ft high hornbeam hedges, with interstices planted with elm. The Wilderness was the English version of a French ‘bosquet’. The high hedges, secluded benches and winding paths made it a place where members of the Royal Court could go for privacy and where gentlemen in particular could entertain ladies in private.” 

Mr Rushworth seems to be “rushing,” to get his estate “improved,” an eagerness reflected in his wishing to marry Maria Bertram. His mother appears just as eager for him in all these aspects too. Jane Austen has chosen her character’s name carefully to fit his character. The quickest way he can think of doing it is by hiring Humphrey Repton to do all the work. This suggests that he will not and perhaps cannot contribute to the process. He wants a garden “off the peg” so to speak. Is this also a metaphor for the state of his relationship with Maria Bertram? Is she too an “off the peg” marriage? Is she too just for show? So Repton was to design his garden and Mr Crawford was to provide the requirements his future wife might want, or am I being too cruel?   If this is the case he will feel no emotional attachment to his prospective wife and nor feel ownership of his garden. He wants others to be impressed by what he has, that is all. He can throw money at these projects but no ideas.

Edmund on the other hand suggests,

“…but had I a place to new fashion, I should not put myself into the hands of an improver. I would rather have an inferior degree of beauty, of my own choice, and acquired progressively. I would rather abide by my own blunders than by his.” 

A much more independent view – Edmund would rather satisfy himself than others and not worry about their opinions. We can think of his future relationship with Fanny Price in these terms too.

Avenue of oak trees, cTony Grant

Avenue of oak trees, cTony Grant

Fanny Price, shocked at the thought of the avenue of oaks being cut down, makes a powerful request to see them, which is a surprising demand from her. We are not used to her making demands. Perhaps this visit to Sotherton marks the rise of Fanny Price and is a pointer to the future. Oak trees are ancient trees and avenues are straight and regimented. To walk down a long avenue of trees, especially in the Spring and Summer when the foliage is at its height, provides an experience of shade and light, the rustling of leaves and the sound of birdsong but you are lead into the distance along a straight path. They are a combination of natural beauty and grace but they also provide an undeviating path. Perhaps a metaphor for Fanny Price herself, unwavering in her innocence, honesty and intelligence grounded in a strong moral foundation but also a breath of natural air. It would be a shame to cut down an avenue of oaks. They take hundreds of years to grow. They span many generations. They are an historical record and link together generations. Fanny’s sense of their worth is in contrast to Mary Crawford, whose following statement is true on one level but does not take into account that the best of the past should not only be kept but built upon:

“Every generation has its improvements.”

Part of the lake at Painshill Park, cTony Grant

Part of the lake at Painshill Park, cTony Grant

The estates of the aristocracy and the wealthy in the 18th century were places designed to provide emotional experiences. The Honourable Charles Hamilton, the 9th son of the Earl of Aberavon was born in 1704. Being the 9th son he could not hope to inherit his father’s estates but through the provision of a good education, an intelligent mind, the completion of two Grand Tours, energetic ambitions and the acquisition of some well-paid government posts, he bought land at Painshill near Cobham in Surrey. His life’s work began creating a park inspired by the European artists, Nicolas Poussin, Claude Lorrain and Salvator Rosa. He succeeded magnificently and his park at Painshill has been, in recent years, renovated and is open to the public today. He created a landscape of far vistas, an undulating landscape, a strategically positioned serpentine lake, bridges, mounds, trees and woods. He created different areas that contrived different moods formed by ruined abbeys, tall turrets, Turkish tents, Gothic temples and crystal lined grottos. From the influence of Pousin’s paintings we might conjecture about the sort of parties he held inside the crystalline grottos.

[Images: Wikipedia]

West Wycombe Park, developed by Sir Francis Dashwood 2nd baronet between1740 and 1800, leaves us in no doubt about its purpose and uses. He famously began the Hell Fire Club in the caves of West Wyckham. He too had his temples and Palladian and Neoclassical follies based on the Italian Villas he had encountered on his Grand Tour. He spent limitless amounts of money on his park and employed three architects and two landscape gardeners. He actually employed Humphrey Repton at one stage. His park included temples to Apollo, Diana and Venus. The activities that went on in these places have been recorded and were debauched to say the least.

Humphry Repton (Wikipedia)

Humphry Repton (Wikipedia)

Who was Humphry Repton the gentleman who Mr Rushworth was intent on employing to “improve” the park at Sotherton? He was a gardening author and landscape designer. He began his career as a landscape gardener late in life at the age of 36 in 1788. He followed in the footsteps of Capability Brown who had died in 1783. Hence the pun that Jane makes in chapter 9,

“Mr Crawford was the first to move forward, to examine the capabilities of that end of the house.”

His basic theory, which he repeated on many estates, was to create a terrace near the house, and produce a serpentine park between clumps of woodland and lakes creating different views. He was accused of “advising the same thing at different places.” However, most of his work was done during the time of the Napoleonic Wars when money was not so readily at hand for the great landowners. In contrast to Capability Brown, whose landscape gardening was more creative. Repton’s designs were not as ambitious. Browns approach, continued by Repton, was to offer a variety of services. He could provide a survey and a plan for the property owner to develop themselves, or he could provide the planning service and a foreman to oversee the work, or he could oversee the work himself. He built on this process by also writing and producing what were called “The Red Books.” These were bound volumes with recommendations and included, what perhaps was most useful for the client to envisage what his estate might look like, before and after sketches. Repton was a contemporary of Jane Austen and the current popular landscape designer of the time she was writing Mansfield Park. In her choice of referring to Repton, she was right up with the latest fashions and “taste.”

Repton's Before and After sketches (Wikipedia)

Repton’s Before and After sketches (Wikipedia)

 

Capability Brown (Wikipedia)

Capability Brown (Wikipedia)

Returning to Capability Brown, what is interesting is that towards the end of his career he was employed at Hampton Court as the King’s gardener. He lived in a house in the palace grounds called Wilderness House which is still there today, right next to, the Wilderness.

*************

And finally, as we join the Sotherton Party heading home, we discover what we really knew all along, that Mrs Norris partakes of the selfish practice of “spunging”-

“What else have you been spunging?” said Maria, half–pleased that Sotherton should be so complimented.

“Spunging, my dear! It is nothing but four of those beautiful pheasants’ eggs, which Mrs. Whitaker would quite force upon me: she would not take a denial.”

I was so delighted to hear her described that way returning after their day at Sotherton by one of the Miss Bertram’s. It might appear as spoken in a fit of pique but oh how true it is. Austen provides one or two other jokes during the visit to Sotherton, but it is this one that satisfies me the most; it describes Mrs Norris exactly.

Nicolas Poussin – Bacchanal before a herm (1632-33) – National Gallery London (Wikipedia)

 c2014, Jane Austen in Vermont; text by Tony Grant, images as noted.

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Originally posted on Current Projects:

By Keira Mckee

An important stage in the treatment of any object is for the conservator to thoroughly assess the object “as is” before any work gets underway, if any work is in fact needed. In the books conservation department, we fill out a condition and treatment report that documents the exact condition of a book, when received by the conservator, identifying all issues that may require attention. As times goes on, all work will also be logged in this same document so that a thorough report can go back with the book to the owner, and possibly inform future treatments if another conservator works with the book in the future.

I was asked by David Dorning to create a condition report for the sample of Jane Austen handwriting that the department has been commissioned to treat. You can read about the project here.

The full condition report is…

View original 327 more words

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JARW68-cover

New issue of Jane Austen’s Regency World!

The March/April 2014 issue [No. 68] of Jane Austen’s Regency World magazine is now published and will be mailed to subscribers this week.  In it you can read about:

  • William Beckford, the remarkable author and architect who led a somewhat sordid life
  • Joanna Trollope on her rewriting of Sense & Sensibility for HarperCollins’s Austen Project
  • Mary Russell Mitford, the writer who sought to emulate Jane Austen
  • How Jane Austen supported her fellow writers by subscribing to their books
  • The story of Julie Klassen, marketing assistant turned best-selling Regency romance novelist

 ***********

Plus: News, Letters, Book Reviews and information from Jane Austen Societies in the US and the UK.

And: Test your knowledge with our exclusive Jane Austen quiz, and read about the shocking behaviour of our latest Regency Rogue

You should subscribe! Make sure that you are among the first to read all the news from Jane Austen’s Regency Worldhttp://janeaustenmagazine.co.uk/subscribe/

[Images and text from JARW Magazine, with thanks]

c2014 Jane Austen in Vermont

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UPDATE:  new images have been added!*

Gentle Readers:  I welcome again Ron Dunning on a bit of Jane Austen ancestry – the Knight name of Chawton and Godmersham.  We know that Thomas Knight and his wife adopted Edward Austen as a child, and passed on to him the landed estates they had inherited, both Chawton and Godmersham.  The name of the family eventually became Austen-Knight, but Ron shows us here how far back this connection went – one wonders how much Jane Austen would have actually known of this…**

*******************
Knight of Chawton and Godmersham

Presentation of Edward Austen to Thomas and Catherine Knight - wikipedia

Presentation of Edward Austen to Thomas and Catherine Knight – wikipedia

We all know the story of how, in 1779, the 12-year-old Edward Austen charmed Thomas Knight [our Thomas henceforth] of Godmersham, and his newly-married wife Catherine [Knatchbull], when they stopped at Steventon on their bridal tour – so much so that they asked his parents to allow them to take him with them for the rest of the trip. The Knights grew increasingly fond of him, with his sunny and uncomplicated nature, and followed on by inviting him to visit them in Godmersham. When, after a few years, it became apparent that they were unlikely to have any children of their own to inherit their property and fortune, they arranged with the Austens to adopt him, and to give him their surname. There was a family connection – our Thomas Knight and Edward’s father George Austen were second cousins, both descended from John Austen and Jane Atkins.

Thomas Knight, the younger, by Francis Cote – CHL  ~  Catherine Knatchbull Knight, print of portrait by George Romney

Godmersham 1779 - wikipedia

Godmersham 1779 – wikipedia

Transfers of property, fortunes, and surnames were already well established in the Knight Family and make it all very difficult to follow. So I have created the chart below to make it easier for me, and I hope that it helps others too.

So, looking at the chart [see below]:

Chawton House

Chawton House

Beginning on the left, the Knight family had been in possession of the manor of Chawton for some generations. It was inherited  by Dorothy Knight when the male line failed. According to the law of the time, her property, including the title to the estate, became the possession of her husband, Richard Martin. When they produced no children, it passed to Richard’s brother Christopher; when he too died, having remained unmarried, it was inherited by their sister Elizabeth and her two successive husbands. [Note that this line had all changed their name from Martin to Knight, before reaching our Thomas.]

Elizabeth left no children, and the property passed to a second cousin, Thomas Brodnax of Godmersham. In 1727, this Thomas changed his name by Act of Parliament to May, when he inherited property at Rawmere in Sussex from his mother’s childless cousin, Sir Thomas May. Then in 1736, on inheriting the Chawton estate, he changed his name again, to Knight.

Thomas Knight (a.k.a.Brodnax, May) – by Michael Dahl – CHL  ~  Jane Monk, by Michael Dahl

This Thomas Knight and his wife Jane Monk, who was an Austen descendant, produced at least ten children, of whom five were

Edward Austen Knight - austenonly

Edward Austen Knight – austenonly

boys. Only one, our Thomas (the second son of that name), survived childhood. Thomas enjoyed a long life of sixty years, and married Catherine Knatchbull [see portraits above]. When it became clear that they too would remain childless, they chose to adopt the young and affable Edward Austen, whose family were collateral descendants of Thomas’s great-great-grandparents, John and Jane [Atkins] Austen. On his death in 1794, Thomas Knight bequeathed Godmersham to Catherine, and all other properties to Edward; Catherine later moved to Canterbury and gave Edward the Godmersham estate at that time.

Confused? I too struggle to keep it all straight, so hopefully this chart helps.  There is one detail missing, which will necessitate some further research; that is the family connection between the Martin and the Brodnax families, who were said to be second cousins. Once the research is done I’ll amend the chart, but it won’t make any difference to the sequence of surnames and ownership as they are illustrated here.

It’s some time since I last added anything to the Jane Austen’s Family website. It struck me as a good idea to include a pedigree section; this is now the first chart:

knight-estates

It can be found at this link: http://www.janeaustensfamily.co.uk/pedigrees/knight/knight.index.html

 *****************

Thank you Ron! – if anyone has any questions [are you all sitting out there scratching your heads??], please ask Ron – he would be happy to answer anything you might put to him…!

Without all these family dynamics and the extensive trading of names and the adoption of Edward Austen, Jane Austen might never have had the chance to live and write at Chawton Cottage  [now the Jane Austen House and Museum]– and where would we all be without those six novels??

Chawton Cottage - astoft.co. uk

Chawton Cottage – astoft.co. uk

* The portraits of the Thomas Knights, Jane Monk, and Catherine Knight are all from Ancestry.com, with thanks to Ron for accessing these. You can read about the portrait artist Michael Dahl here: http://en.wikipedia.org/wiki/Michael_Dahl

** Ron has answered my question about whether Jane Austen knew about all these family connections:

Everyone – the Knights, Mr and Mrs Austen, Edward – knew incontrovertibly about the peregrinations at least back to the common descent from John and Jane Austen and, no doubt about the Mays too.  It’s inconceivable that they wouldn’t have discussed it all in front of Jane.

Do you have any questions for Ron?

c2014, Jane Austen in Vermont

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