JANE AUSTEN Later Manuscripts
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationth e c a m b r i d g e e d i ti o no f th e w o r k s o fJA N E A U S T ENlater manuscripts Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationCambridge University Press andJanet Todd wish to express their gratitude to theUniversity of Glasgow and the University of Aberdeen forproviding funding towards the creation of this edition.Their generosity made possible the employment ofAntje Blank as research assistant during the project. Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationth e c a m b r i d g e e d i ti o no f th e w o r k s o fJA N E A U S T ENg e n e ra l e d i t o r : Janet Todd, Lucy Cavendish College, Cambridgeand University of Aberdeene d i t o r i a l bo a r dMarilyn Butler, University of OxfordAlistair Duckworth, University of FloridaIsobel Grundy, University of AlbertaClaudia Johnson, Princeton UniversityJerome McGann, University of VirginiaDeirdre Le Faye, independent scholarLinda Bree, Cambridge University Pressv o l u m e s i n th i s s e r i e sJuvenilia edited by Peter SaborNorthanger Abbey edited by Barbara Benedict and Deirdre Le FayeSense and Sensibility edited by Edward CopelandPride and Prejudice edited by Pat RogersMansfield Park edited by John WiltshireEmma edited by Richard Cronin and Dorothy McMillanPersuasion edited by Janet Todd and Antje BlankLater Manuscripts edited by Janet Todd and Linda BreeJane Austen in Context edited by Janet Todd Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationFrontispiece: First manuscript page of Jane Austen’s poem ‘Whenstretch’d on one’s bed’. See p. 253. Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationJA N E AU S T ENL AT ER M A N U S C R I P T SEdited byJanet Todd and Linda Bree Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationc a m b r i d g e u n iv e r s i t y p r e s sCambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, DelhiCambridge University PressThe Edinburgh Building, Cambridge CB2 8RU, UKPublished in the United States of America byCambridge University Press, New Yorkwww.cambridge.orgInformation on this title: www.cambridge.org/9780521843485 C Cambridge University Press 2008This publication is in copyright. Subject to statutory exceptionand to the provisions of relevant collective licensing agreements,no reproduction of any part may take place withoutthe written permission of Cambridge University Press.First published 2008Printed in the United Kingdom at the University Press, CambridgeA catalogue record for this publication is available from the British LibraryLibrary of Congress Cataloguing in Publication dataAusten, Jane, 1775–1817.Later manuscripts / Jane Austen ; edited by Janet Todd and Linda Bree.p. cm. – (The Cambridge edition of the works of Jane Austen)Includes bibliographical references.ISBN 978-0-521-84348-5 (hardback)1. Austen, Jane, 1775–1817 – Manuscripts. I. Todd, Janet M., 1942–II. Bree, Linda. III. Title. IV. Series.PR4032.T63 2008828 .7 – dc222008035044ISBN 978-0-521-84348-5 hardbackCambridge University Press has no responsibility for the persistence oraccuracy of URLs for external or third-party internet websites referred toin this publication, and does not guarantee that any content on suchwebsites is, or will remain, accurate or appropriate. Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationCO N T EN T SList of illustrations ixGeneral Editor’s preface xiPreface xvAcknowledgements xixChronology xxiThe Austen family tree xxviiiIntroduction xxxiThe Fiction1Lady Susan 3The Watsons 79Sanditon 137Jane Austen on Fiction211To Mrs. Hunter of Norwich 213Letters on Fiction to Anna Lefroy 214Plan of a Novel, according to hints from variousquarters 226Opinions of Mansfield Park 230Opinions of Emma 235Poems and Charades241Poems 243Charades 256vii Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationContentsAppendices257Appendix A: Transcription of ‘The Watsons’ 259Appendix B: Transcription of ‘Sanditon’ 381Appendix C: ‘Sir Charles Grandison’ 556Appendix D: Prayers 573Appendix E: Attributed poems 577Appendix F: Family poems 579Abbreviations 582Explanatory notes 585‘Lady Susan’ 585‘The Watsons’ 602‘Sanditon’ 629Jane Austen on Fiction 680Poems and Charades 706viii Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationI LL U S T R AT I O N S1.2.3.4.5.Frontispiece: ‘When stretch’d on one’s bed’.Reproduced by permission of Bath and N.E. SomersetCouncil.The first page of ‘Lady Susan’. Reproduced bypermission of the Morgan Library, New York.page 2‘The Watsons’, f. 42r. Reproduced by permission ofQueen Mary, University of London.134‘Sanditon’, f. 7v. Reproduced by permission of King’sCollege, Cambridge.144Letter from Jane Austen to Anna Lefroy. Reproducedby permission of St John’s College, Oxford.216Poem, ‘To Miss Bigg previous to her marriage, withsome pocket handfs. I had hemmed for her’.Reproduced by permission of Jane Austen’s HouseMuseum, Chawton.247ix Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationG EN ER A L ED I T O R ’ S P R EFAC EJane Austen wrote to be read and reread. ‘[A]n artist cannot doanything slovenly,’ she remarked to her sister Cassandra. Her subtle,crafted novels repay close and repeated attention to vocabulary,syntax and punctuation as much as to irony and allusion; yet thereader can take immediate and intense delight in their plots andcharacters. As a result Austen has a unique status among earlyEnglish novelists – appreciated by the academy and the generalpublic alike. What Henry Crawford remarks about Shakespeare inMansfield Park has become equally true of its author: she ‘is a part ofan Englishman’s constitution. [Her] thoughts and beauties are sospread abroad that one touches them every where, one is intimatewith [her] by instinct.’ This edition of the complete oeuvre of thepublished novels and manuscript works is testament to Austen’sexceptional cultural and literary position. As well as attemptingto establish an accurate and authoritative text, it provides a fullcontextual placing of the novels.The editing of any canonical writer is a practice which has beenguided by many conflicting ideologies. In the early twentieth century, editors, often working alone, largely agreed that they wereproducing definitive editions, although they used eclectic methodsand often revised the text at will. Later in the century, fidelity tothe author’s creative intentions was paramount, and the emphasis switched to devising an edition that would as far as possiblerepresent the final authorial wishes. By the 1980s, however, thepursuit of the single perfected text had given way to the recordingof multiple intentions of equal interest. Authors were seen to havechanged, revised or recanted, or indeed to have directed variousxi Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationGeneral Editor’s prefaceversions of their work towards different audiences. Consequentlyall states had validity and the text became a process rather than afixed entity. With this approach came emphasis on the print culturein which the text appeared as well as on the social implications ofauthorship. Rather than being stages in the evolution of a singlework, the various versions existed in their own right, all havingsomething to tell.The Cambridge edition describes fully Austen’s early publishing history and provides details of composition, publication andpublishers as well as printers and compositors where known. Itaccepts that many of the decisions concerning spelling, punctuation, capitalizing, italicizing and paragraphing may well have beenthe compositors’ rather than Austen’s but that others may represent the author’s own chosen style. For the novels published in JaneAusten’s lifetime the edition takes as its copytext the latest edition to which she might plausibly have made some contribution:that is, the first editions of Pride and Prejudice and Emma and thesecond editions of Sense and Sensibility and Mansfield Park. Wherea second edition is used, all substantive and accidental changesbetween editions are shown on the page so that the reader canreconstruct the first edition, and the dominance of either first orsecond editions is avoided. For the two novels published posthumously together, Northanger Abbey and Persuasion, the copytext isthe first published edition.The two volumes devoted to manuscript writings divide theworks between the three juvenile notebooks on the one hand andthe remaining manuscript writings on the other. The juvenile notebooks and ‘Lady Susan’ have some resemblance to the publishedworks, being fair copies and following some of the conventionsof publishing. The other manuscript writings consist in part offictional works in early drafts, burlesques and autograph and allograph copies of occasional verses and prayers. The possible datingof the manuscript works, as well as the method of editing, is considered in the introductions to the relevant volumes. Their featuresxii Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationGeneral Editor’s prefaceas manuscripts have been respected and changes and erasures eitherreproduced or noted.In all the volumes superscript numbers in the texts indicate endnotes. Throughout the edition we have provided full annotationsto give clear and informative historical and cultural information tothe modern reader while largely avoiding critical speculation; wehave also indicated words which no longer have currency or havealtered in meaning in some way. The introductions give information concerning the genesis and immediate public reception of thetexts; they also indicate the most significant stylistic and genericfeatures. A chronology of Austen’s life appears in each volume.More information about the life, Austen’s reading, her relationship to publication, the print history of the novels and their criticalreception through the centuries, as well as the historical, political,intellectual and religious context in which she wrote, is available inJane Austen in Context, which forms part of the edition.Janet Toddxiii Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationP R EFAC EThis volume contains all the known manuscript works of JaneAusten’s adulthood, with the exception of the cancelled chaptersof Persuasion, which are reproduced as an Appendix in the volumeof Persuasion in the Cambridge edition. The manuscripts exist inmany forms, and each is described in detail at the appropriate pointin the volume. With the exception of ‘Lady Susan’ and some of thepoems, none exists in a fair copy in Austen’s hand. Some surviveonly in draft form, some in versions written down by others; somehave come down to us in multiple forms. Because of the ‘occasional’ nature of the poems in particular, where they exist in morethan one version we have chosen to reproduce the earliest completetext, while noting variants between this and any other versions inAusten’s handwriting.With the exception of the reading texts of ‘The Watsons’ and‘Sanditon’ (see below) we have not changed Jane Austen’s spelling,capitalization, paragraphing or punctuation; her idiosyncrasies andinconsistencies, which form part of the texture of her work, havebeen carefully preserved. We have however made no attempt torepresent graphic features of the manuscripts, such as lines drawnabove or below titles and chapter numbers. Jane Austen occasionally uses the long ‘s’; throughout we have regularized this to themodern ‘s’. Her use of quotation marks differs from modern usage;we have followed her various systems but, when opening or closingquotation marks have been accidentally omitted, they have beeninserted.Jane Austen’s handwriting is generally clear and legible, but someambiguities in the manuscripts cause difficulties in transcription.xv Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationPrefaceSince her indentations are often extremely slight, it is not alwaysclear where a new paragraph begins. Many initial letters of wordsfall somewhere between upper and lower case, while commas cannot always be distinguished from periods. In such cases we haveused our best editorial judgement, taking into account Jane Austen’spractice in other manuscripts. The insetting of ‘Lady Susan’ intolarger pages has sometimes resulted in the extreme right hand margin of Austen’s original manuscript being no longer visible; here,and on other occasions of obvious accidental omission, we haveinserted missing letters within square brackets.‘The Watsons’ and ‘Sanditon’, her two incomplete novels, bothexist in what seems to be a first-draft state. As working documents,they are very revealing of Austen’s creative process. We have therefore decided that, rather than drawing an ‘authoritative’ text fromthe manuscript, with textual notes describing the revisions, additions and deletions, we would offer a line-by-line transcriptionof the two manuscripts: these appear as Appendices A and B. Withthis method, while we cannot indicate whether revisions were madeat the time of first writing or later (on which one can speculate onlywhen examining the manuscript in its material state), we can showwhere Austen was having difficulty working and reworking a phraseor sentence, and where she was writing smoothly in response to herfirst thoughts.Because of the presence of these line-by-line transcriptions wehave chosen to present, in the main body of the volume, ‘reading’versions of both texts, which have been discreetly edited to reflectbasic publishing conventions of the early nineteenth century, asevidenced by Austen’s own published works. Accordingly, we havemade the following changes:-inserted quotation marks around speeches, except where theolder convention of using brackets to indicate the speaker is used;-inserted a line-break before and after speech, except where thespeeches seem designed to run on;-added some paragraphing when a single paragraph seems muchlonger than is common in the published works, and the narrativexvi Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationPrefacemoves to a new subject; for ‘Sanditon’ we have usually followed theparagraph divisions suggested by Cassandra Austen in her fair copyof the manuscript made after Jane Austen’s death;-reduced Austen’s heavy use of initial capital letters for nouns ofall kinds;-converted underlining into the usual printed equivalent ofitalics;-normalized superscripts, so that ‘Mrs. becomes ‘Mrs.’, etc.;-expanded grammatical contractions, so that ‘tho’ becomes‘though’, etc.;-expanded contractions for dates, titles and names, so that ‘Oct.’becomes ‘October’, ‘Col.’ becomes ‘Colonel’ (as it does in most,though not all, references in the published works), ‘H.’ becomes‘Heywood’, etc.;-corrected idiosyncratic or old-fashioned spellings which wouldhave been caught in any publishing process, such as ‘veiw’,‘freind’, ‘neice’, ‘independant’, ‘chearful’, ‘agreable’, ‘bason’; wherethe spelling was acceptable in the nineteenth century, though obsolete now, for example with ‘staid’ for ‘stayed’, ‘shew’ for ‘show’, ‘stile’for ‘style’, ‘ancle’ (which appears in Pride and Prejudice) and Surry(in Emma), we have not adjusted it;-adjusted punctuation where the text seems to require it for thesake of sense or common usage;-harmonized Austen’s inconsistent use of the apostrophe.With one exception, we have not made consistent Austen’sspelling of names, so that, just as in Pride and Prejudice the Bennets’aunt is either Phillips or Philips, here the keeper of the library inSanditon remains variously Mrs. or Miss Whilby or Whitby. Theexception is the spelling of Edwards/Edwardes in ‘The Watsons’,which we have represented throughout as Edwards, partly becauseof the need to expand the frequently used contraction ‘E.’.Despite clear evidence that early nineteenth-century printingpractice would have insisted on extensive adjustment, we have chosen to make very few changes in Austen’s use of the dash. It is clearto us that the dash is so characteristic of her style, and so closelyxvii Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationPrefacebound up with the rhythm of her prose, that removal, or substantialreduction, would risk changing the nature of the text in a way thatcould not be justified in a scholarly edition.As far as all the changes are concerned, we have made them withcaution. We strongly recommend that readers compare the resultingreading text with the line-by-line transcriptions, to reach a roundersense both of Austen’s creative process as shown in these two unfinished works, and of the relationship, more generally, between hermanuscripts and her published novels.xviii Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationAC K N O W LED G EM EN T SGiven the very varied nature of the contents of this volume, wehave been grateful for the assistance of a large number of people.Like all editors of scholarly editions, we are indebted to thosewho came before us – in this instance in working on, and presenting editions of, Jane Austen’s manuscripts and related works.They include Christine Alexander, R. W. Chapman, MargaretAnne Doody, Margaret Drabble, Claudia L. Johnson, Vivien Jones,David Selwyn, Brian Southam and Kathryn Sutherland.Thanks are due to the owners of the manuscripts we have consulted and reproduced, and the libraries within which they are held:Belinda Austen, the Bath and N. E. Somerset Council, the HenryW. and Albert A. Berg Collection in the New York Public Library,the British Library, Damaris Jane Brix, Chawton House Libraryand Study Centre, the City Museum, Winchester, the Dean andChapter of Winchester Cathedral, the Fondation Martin Bodmer,David Gilson, Park Honan, King’s College Cambridge (in particular Patricia McGuire the Archivist), the Morgan Library in NewYork (in particular Christine Nelson, the Drue Heinz Curator ofLiterary and Historical Manuscripts), Sandy Lerner, the WilliamH. Olin Library, Oakland, California, Queen Mary, University ofLondon (particularly Lorraine Screene the Archivist), and FreydisJane Welland.We are very grateful for information, ideas and advice we havereceived from Kathy Atherton, Antje Blank, Marilyn Butler, EmmaClery, Edward Copeland, Jan Davies, Geoffrey Day, Alistair Duckworth, Roz Field, Heather Glen, David Hewitt, Derek Hughes,Peter Knox-Shaw, David McKitterick, James McLaverty, Claudexix Cambridge University Presswww.cambridge.org
Cambridge University Press978-0-521-84348-5 - Later ManuscriptsJane AustenFrontmatterMore informationAcknowledgement
sent the author’s own chosen style. For the novels published in Jane Austen’s lifetime the edition takes as its copytext the latest edi-tion to which she might plausibly have made some contribution: that is, the first editions of Pride and Prejudice and Emma and the second editions of Sense and Sensibility and Mansfield Park. Where
Jane Austen Life & Notable Works Literature R A J A R A O P A G I D I P A L L I Page 8 (possibly because of her illness). On 18 July 1817 Austen died at the age of 41. Jane Austen Timeline: 1775 - Jane Austen was born on 16 December 1783 - Jane went to Oxford along with her sister Cassandra to get her education from Mrs. Ann
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Jane Austen & Michael Fry Jane Austen was born on December 16, 1775, at Steventon Rectory in Hampshire, England, the seventh child of a country clergyman and his wife, George and Cassandra Austen. Austen's parents were well-respected community members; her father was Oxford-educated, and the children grew up in an environment that stressed .
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A Sense of Jane Austen – dress & history The English author Jane Austen (1775–1817) is perhaps best known for the books Sense and Sensibility, Pride and Prejudice and Persuasion. The women in her novels are privileged, but also economically dependent. With humour and irony, Austen criticized the restricted role of women in
