Complete Works of Jane Austen (396 page)

The date 1790 or 1791 must be assigned to the portrait — believed to be of Jane Austen, and believed to be by Zoffany — which has been chosen as the frontispiece for this book, as it was for Lord Brabourne’s edition of the Letters. We are unable for want of evidence to judge of the likeness of the picture to Jane Austen as a girl; there is, so far as we have heard, no family tradition of her having been painted; and, as her subsequent fame could hardly have been predicted, we should not expect that either her great-uncle Frank, or her cousin, Francis Motley Austen, would go to the expense of a picture of her by Zoffany. Francis Motley had a daughter of his own, another Jane Austen, who became Mrs. Campion of Danny, and a confusion between the two Janes is a possible explanation.

On the other hand, we believe there is no tradition in either the Austen or the Campion family of any such portrait of
that
Jane Austen, and the
provenance
of our picture is well authenticated. The Rev. Morland Rice (grandson of Edward Austen) was a Demy of Magdalen College, Oxford. An old Fellow of Magdalen, Dr. Newman, many years before his death, told him that he had a portrait of Jane Austen the novelist, that had long been in his family. He stated that it was painted at Bath when she was about fifteen, and he promised to leave him (M. Rice) the picture. A few months before his death, Dr. Newman wrote to his friend, Dr. Bloxam, sending him a picture as a farewell present, and adding: ‘I have another picture that I wish to go to your neighbour, Morland Rice. It is a portrait of Jane Austen the novelist, by Zoffany. The picture was given to my stepmother by her friend Colonel Austen of Kippington, Kent, because she was a great admirer of her works.’ Colonel Austen was a son of Francis Motley, and it is hardly conceivable that he should give away to a stranger a portrait of his
sister
Jane as one of his
cousin
Jane. Our Jane became fifteen on December 16, 1790, and Zoffany returned from India in that year. Jane is believed to have visited her uncle, Dr. Cooper (who died in 1792), at Bath. There is nothing in these dates to raise any great difficulty, and, on the whole, we have good reason to hope that we possess in this picture an authentic portrait of the author.

The Austens seem to have been possessed of considerable histrionic talent, and they were decidedly ambitious in the plays they undertook. Their cousin Eliza was out of England in 1784 when their theatricals first began; but on a later occasion she was one of the principal performers. They had their summer theatre in the barn, and their winter theatre either there or within the narrow limits of the dining-room, where the number of listeners must have been very small. In 1784 Sheridan’s
Rivals
was acted by ‘some ladies and gentlemen at Steventon.’ The same year they seem to have given also the tragedy of
Matilda
. It was the day of prologues and epilogues, and the young actors were careful to omit nothing that would make the performance complete. James, the eldest son, brought into play his skill in verse-making; and we read of Henry Austen speaking a prologue (from his brother’s pen) to
The Rivals
, while the prologue to
Matilda
was given by Edward Austen, and the epilogue by Thomas Fowle.

Midsummer and Christmas were the two seasons when George Austen dismissed his pupils for their holidays, and it was at these two periods that the theatricals usually took place. For the year 1787 we have a few details as to contemplated performances. Eliza de Feuillide had come to England with her mother in the summer of 1786, and probably went to Steventon at midsummer. In September 1787 she was at Tunbridge Wells with her mother and her cousin Phila. In a letter to her brother, Phila tells us that they went to the theatre, where (as was the custom in those days) the Comtesse — presumably as a person of some importance—’bespoke’ the play, which was
Which is the Man?
and
Bon Ton
. This is interesting, because later on in the same letter Phila says: ‘They [i.e. the Comtesse and her mother] go at Christmas to Steventon and mean to act a play,
Which is the Man?
and
Bon Ton
. My uncle’s barn is fitting up quite like a theatre, and all the young folks are to take their part. The Countess is Lady Bob Lardoon [
sic
] in the former and Miss Tittup in the latter. They wish me much of the party and offer to carry me, but I do not think of it. I should like to be a spectator, but am sure I should not have courage to act a part, nor do I wish to attain it.’

Eliza was, however, very urgent with Phila that she should send all diffidence
to Coventry
.

Your accommodations at Steventon are the only things my Aunt Austen and myself are uneasy about, as the house being very full of company, she says she can only promise you ‘a place to hide your head in,’ but I think you will not mind this inconvenience. I am sure I should not — to be with you. Do not let your dress neither disturb you, as I think I can manage it so that the
Green Room
should provide you with what is necessary for acting. We purpose setting out the 17th of December. . . . I assure you we shall have a most brilliant party and a great deal of amusement, the house full of company, frequent balls. You cannot possibly resist so many temptations, especially when I tell you your old friend James is returned from France and is to be of the acting party.

But Phila still stood out, and Eliza attacked her once more on November 23, begging her to come for a fortnight to Steventon, provided she could bring herself to act, ‘for my Aunt Austen declares “she has not room for any
idle young people
.”‘

We hear no more news of these theatricals, but it is probable that there was a change in the selection of the plays, for there is extant a prologue by James Austen to
The Wonder
, acted at Steventon, December 26 and 28, 1787, as well as an epilogue ‘spoken by a Lady in the character of Violante.’ There is also a prologue to
The Chances
, acted at Steventon, January 1788.

The last Steventon performances of which we have any knowledge took place in January 1790, when a farce called
The Sultan
was acted. The leading lady on this last occasion was Miss Cooper, who spoke the epilogue in the character of Roxalana, Henry Austen playing the title-rôle. On the same occasion Townley’s farce,
High Life below Stairs
, was also given.

Of Jane’s own part in these performances there is no record, for she was only just fourteen when the last took place. But even if she took no more share than Fanny Price, she must have acquired a considerable acquaintance with the language of the theatre — knowledge that she was to turn to good account in
Mansfield Park
. She was an early observer, and it might reasonably be supposed that some of the incidents and feelings which are so vividly painted in the
Mansfield Park
theatricals are due to her recollections of these entertainments.

The talent and liveliness which she would show, if ever she had an opportunity of acting herself, may be imagined. The late Sir William Heathcote is said to have remembered being with her at a Twelfth Night party when he was a little boy, on which occasion she, having drawn the part of Mrs. Candour, acted it with appreciation and spirit.

CHAPTER V. GROWTH AND CHANGE

1792-1796

Though it may hardly be likely that the Austens could rival Mrs. Bennet of
Pride and Prejudice
by professing to dine with four-and-twenty families, there was, nevertheless (for a quiet country neighbourhood), a very fair amount of society to be had around Steventon.

Readers of Jane Austen’s letters will come across the names of many Hampshire neighbours, with occasional indications of the estimate which she formed of their intellects and characters. Probably there were many different degrees of refinement in different families; and towards the bottom of the list must have come the squire of many acres, who, we are told, inquired of Mr. Austen whether Paris was in France or France in Paris, and who quoted a speech of the Rector’s wife as beginning with a round oath, saying, when remonstrated with, that it was merely his ‘way of telling the story.’ When the author of the
Memoir
expresses his belief that a century and a half ago the improvement of manners in most country parishes began with the clergy, he was no doubt thinking of the more learned minority of that body, who would bring into the depths of the country something of the enlightenment of a university. To this minority Jane’s father and brother belonged, and thus the family probably gave to the society around them at least as much culture as they received from it in return.

In the outer circle of their neighbourhood stood the houses of three peers — those of Lord Portsmouth at Hurstbourne, Lord Bolton at Hackwood, and Lord Dorchester at Greywell. The owners of these places now and then gave balls at home, and could also be relied upon to bring parties to some of the assemblies at Basingstoke. Hardly less important than these magnates were the Mildmays of Dogmersfield and the Chutes of The Vyne. The Mr. Chute of that day was not only one of the two M.P.’s for the whole county of Hampshire, but was also a well-known and popular M.F.H., and the husband of an excellent and cultivated wife. Then came other squires — Portals at Freefolk, Bramstons at Oakley Hall, Jervoises at Herriard, Harwoods at Deane, Terrys at Dummer, Holders at Ashe Park — with several clerical families, and other smaller folk.

But there were three houses which meant to the Austen sisters far more than any of the others. The Miss Biggs of Manydown Park — a substantial old manor-house owned by their father, Mr. Bigg Wither, which stands between Steventon and Basingstoke — were especial friends of Cassandra and Jane. One of these, Elizabeth, became Mrs. Heathcote, and was the mother of Sir William Heathcote of Hursley Park — a fine specimen, morally and intellectually, of a country gentleman, and still remembered by many as Member for Oxford University, and as
sole
patron of John Keble. Catherine, another sister, married Southey’s uncle, the Rev. Herbert Hill; and Alethea, who never married, was probably for that very reason all the more important to the Steventon sisters. One of the latest of Jane’s extant letters is addressed to Alethea.

A still closer friendship united Jane and Cassandra to a family named Lloyd, who for a short time inhabited their father’s second house, the parsonage at Deane. Mrs. Lloyd had been a Craven — one of the unhappy daughters of a beautiful and fashionable but utterly neglectful mother, who left them to shift for themselves and to marry where they could. In this respect Martha Craven had done better than some of her sisters, having become the wife of a beneficed clergyman of respectable character and good position. With him she had led a peaceful life, and, on his death in January 1789, she spent the first two or three years of a quiet widowhood at Deane. Her second daughter, Eliza, was then already married to a first cousin, Fulwar Craven Fowle; but the two others, Martha and Mary, were still at home. Both became fast friends of Cassandra and Jane, and both were destined eventually to marry into the Austen family. For the present, their near neighbourhood came to an end at the beginning of 1792, when Mrs. Lloyd removed to Ibthorp, eighteen miles distant from Steventon. It was on the occasion of this removal that Jane, then just sixteen years old, presented to Mary Lloyd an interesting specimen of her own needlework — still existing. It is a very small bag, containing a yet smaller rolled-up housewife furnished with minikin needles and fine thread. In the housewife is a tiny pocket, and in the pocket is enclosed a slip of paper, on which, written as with a crow-quill, are these lines: —

This little bag, I hope, will prove

To be not vainly made;

For should you thread and needles want,

It will afford you aid.

And, as we are about to part,

‘Twill serve another end:

For, when you look upon this bag,

You’ll recollect your friend.  

January 1792.

It is made of a scrap of old-fashioned gingham, and, having been carefully preserved, it is in as perfect a condition as when it was first made a hundred and twenty years ago; and shows that the same hand which painted so exquisitely with the pen could work as delicately with the needle.

Martha Lloyd also had her dedicatory poem. Some years later, when, it seems, she wanted to go to Harrogate, and hoped in vain for the escort of a Mr. Best, Jane presented her with a copy of doggerel — and probably almost extemporaneous — verses: —

Oh! Mr. Best, you’re very bad

And all the world shall know it;

Your base behaviour shall be sung

By me, a tuneful poet.

You used to go to Harrogate

Each summer as it came,

And why, I pray, should you refuse

To go this year the same?

The way’s as plain, the road’s as smooth,

The posting not increased,

You’re scarcely stouter than you were,

Not younger, Sir, at least.

&c., &c.

We must mention one other intimate friendship — that which existed between the Austens and the Lefroys of Ashe. Mr. Lefroy was Rector of that parish; and his wife, known within it as ‘Madam Lefroy,’ was sister to Sir Egerton Brydges to whom we are indebted for the very early notice of Jane Austen as a girl which we have already given.

‘Mrs. Lefroy was a remarkable person. Her rare endowments of goodness, talents, graceful person, and engaging manners were sufficient to secure her a prominent place in any society into which she was thrown; while her enthusiastic eagerness of disposition rendered her especially attractive to a clever and lively girl.’ How intensely Jane loved and admired her is shown by some lines which she wrote on December 16, 1808 — the anniversary both of her own birth and of the sudden death of her friend, killed by a fall from her horse in 1804. It has sometimes been assumed that the self-restraint in expressions of affection to be found throughout Jane’s published writings, and the self-control they display in matters of emotion, arises from the fact that in the writer’s nature there were no very ardent affections to be restrained, and no overpowering emotions to be suppressed. These lines show the baselessness of such an assumption. It was not for the gaze of the public, but to relieve her own heart, that Jane, at the age of thirty-three, wrote thus, four years after the death of this elder friend. Here she dared to speak as she felt, striving in all the warmth and depth of enduring attachment and admiration to paint a character which she yet declares to have been ‘past her power to praise.’ The verses continue thus: —