User:WillowW/Footnote Ref experiments

Dir

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OL

1. Si quaeratur, "Quis hoc fecit?"
2. Respondemus, "Nos affecit
3. labor frequens studii."

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Jane Austen (

burlesque, and irony have earned her a place as one of the most widely-read and best-loved writers in British literature.^[1]
Austen lived her entire life as part of a large and close-knit family located on the lower fringes of English
Mansfield Park (1814), and Emma (1815), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey (written in 1798 and 1799 and revised later) and Persuasion, both published after her death in 1817, and began a third (eventually titled Sanditon
), but died before completing it. Austen's works critique the novels of sensibility of the second half of the eighteenth century and are part of the transition to nineteenth-century realism.^[4][
1. ] Test2^[c] Austen's plots, although fundamentally comic,^[5] highlight the dependence of women on marriage to secure social standing and economic security.^[6] Like Samuel Johnson, one of the strongest influences on her writing, her works are concerned with moral issues.^[7] During her own lifetime, Austen's works brought her little fame and only a few positive reviews. Through the mid-nineteenth century, her novels were admired only by a literary elite. However, the publication of her nephew's A Memoir of the Life of Jane Austen in 1870 made her life and her works visible to a wider public. By the 1940s, Austen was firmly ensconced in academia as a "great English writer" and the second half of the twentieth century saw a proliferation of Austen scholarship, exploring many aspects of her works: artistic, ideological, and historical. Currently, Austen's works are one of the most written-about and debated oeuvres in the academy.^{[citation needed]} In popular culture, a Janeite fan culture has grown up centred on Austen's life, her works, and the various adaptations of them.

   Life

   

   Biographical information concerning Jane Austen is "famously scarce", according to one biographer.^[9] Only some personal and family letters remain (by one estimate only 160 out of Austen's 3,000 letters are extant),^[10] and her sister Cassandra (to whom most of the letters were originally addressed) censored those she retained.^[11] Other letters were destroyed by the heirs of Admiral Francis Austen, Jane's brother.^[12] Most of the biographical material produced for fifty years after Austen's death was written by her relatives and reflects the family's biases in favour of "good quiet Aunt Jane". Scholars have unearthed little more since.^[13]

   Family

   Jane Austen's father, George Austen, and his wife, Cassandra, were members of substantial gentry families.^[14] George was descended from a family of woollen manufacturers which had risen through the professions to the lower ranks of the landed gentry.^[15] Cassandra was a member of the prominent Leigh family.^[16] For much of Jane's life, from 1765 until 1801, George Austen served as the rector of the Anglican parishes at Steventon, Hampshire and a nearby village. From 1773 until 1796, he supplemented this income by farming and by teaching three or four boys at a time who boarded at his home.^[17]

   Austen's immediate family was large and close-knit: six brothers—James, George, Charles, Francis, Henry, and Edward—and a beloved older sister, Cassandra. All survived to be adults. Cassandra was Austen's closest friend and confidante throughout her life.^[18] Of her brothers, Austen felt closest to Henry, who became a banker and, after his bank failed, an Anglican clergyman. Henry was also his sister's literary agent. His large circle of friends and acquaintances in London included bankers, merchants, publishers, painters, and actors: he provided Austen with a view of social worlds not normally visible from a small parish in rural Hampshire.^[19]

   Notes

   • a. ^{^} The original is unsigned but was believed by the family to have been made by Cassandra and remained in the family with the one signed sketch by Cassandra until 1920. The original sketch, according to relatives who knew Jane Austen well, was not a good likeness.^[20]

   • b. ^{^} These included the original versions of and revisions to the novels later published as Sense and Sensibility, Pride and Prejudice and Northanger Abbey, and a novel fragment, The Watsons. ^[21]

   • c. ^{^} Oliver MacDonagh says that Sense and Sensibility "may well be the first English realistic novel" based on its detailed and accurate portrayal of what he calls "getting and spending" in an English gentry family.^[22]

   • d. ^{^} As reported by Austen's niece, Anna, the family crest appeared on George Austen's carriage at the time of Henry Austen's 1797 marriage to Eliza de Feuillide.^[23]

   • e. ^{^} All of Jane Austen's novels except Pride and Prejudice were published "on commission", that is, at the author's financial risk. When publishing on commission, publishers would advance the costs of publication, repay themselves as books were sold and then charge a commission for each book sold, paying the rest to the author. If a novel did not recover its costs through sales, the author was responsible for them.^[24]

   • f. ^{^} Jane Austen's novels were published in larger editions than was normal for this period. The small size of the novel-reading public and the large costs associated with hand production (particularly the cost of hand-made paper) meant that most novels were published in editions of 500 copies or less, in order to reduce the risks to the publisher and the novelist. Even some of the most successful titles during this period were issued in editions of not more than 750 or 800 copies and later reprinted if demand continued. Austen's novels were published in larger editions, ranging from about 750 copies of Sense and Sensibility to about 2,000 copies of Emma. It is not clear whether the decision to print more copies than usual of Jane Austen's novels was driven by the publishers or the author. Since all but one of Jane Austen's books were originally published "on commission", the risks of overproduction were largely hers (or Cassandra's after her death) and publishers may have been more willing to produce larger editions than was normal practice when their own funds were at risk. Editions of popular works of non-fiction were often much larger.^[25]

   • g. ^{^} The Prince Regent's admiration was by no means reciprocated, however. In a letter of 16 February 1813 to Martha Lloyd, Austen says (referring to the Prince's wife, whom he treated notoriously badly) "I hate her Husband".^[26]

   • h. ^{^} John Murray also published the work of Walter Scott and Lord Byron. In a letter to Cassandra dated 17/18 October, 1816, Austen comments that "Mr. Murray's Letter is come; he is a Rogue of course, but a civil one." ^[27]

   • i. ^{^} Addison's disease was often a secondary effect of tuberculosis or cancer. For detailed information concerning the retrospective diagnosis, its uncertainties and related controversies, see Honan, 391-92; Le Faye, A Family Record, 236; Grey, "Life of Jane Austen," The Jane Austen Companion, 282; and Wiltshire, Jane Austen and the Body, 221. Claire Tomalin prefers a diagnosis of a lymphoma such as Hodgkin's disease, arguing that Austen's known symptoms are more consistent with a lymphoma than with Addison's disease. Tomalin, Appendix I, 283-84; see also Upfal A (2005). "Jane Austen's lifelong health problems and final illness: New evidence points to a fatal Hodgkin's disease and excludes the widely accepted Addison's". J Med Ethics Med Humanities. 31: 3–11.

   • j. ^{^} The manuscript of the revised final chapters of Persuasion is the only surviving manuscript in Austen's own handwriting for any of her published novels.^[28]

   • k. ^{^} Cassandra and Henry Austen chose the final titles and the title page is dated 1818.

   • l. ^{^} Honan points to "the odd fact that most of [Austen's] reviewers sound like Mr. Collins" as evidence that contemporary critics felt that works oriented toward the interests and concerns of women were intrinsically less important and less worthy of critical notice than works (mostly non-fiction) oriented towards men.^[29]

References