In the last decade of the eighteenth century were born among poets: Shelley, Keats, Hood, Keble, and Mrs. Hemans; among historians, Grote, Alison, Napier, Carlyle, and Thirlwall; among men of science, Faraday and Lyell; and among novelists, Marryat.
In the beginning of the nineteenth century we have a string of great names; a trio of poets: Tennyson, Longfellow, and Browning; men of science such as Darwin; historians such as Macaulay; novelists in numbers, such as Dickens, Thackeray, Charles Reade, Harrison Ainsworth, Bulwer Lytton, and Trollope; statesmen such as Gladstone and Disraeli.
Perhaps no forty years that could have been chosen at any period of English history would have covered such a variety of talent, and that of such a high order, as was given to the world during Jane Austen’s brief life. And if she did not know personally the men whose names have lived with her own, at all events she drew from their works inspiration and knowledge, and she herself was not by any means the least among so mighty a company.
CHAPTER X A TRIO OF NOVELS
When Jane returned home in October, after her pleasant visit to Godmersham, she began her first real novel. She was then nearly twenty-one, and the girlish scribblings in which she had delighted began to be shaped into something more coherent. This very visit, with all its bright intercourse, all its pleasant variety,—for she had been thrown among a set of county people of better social standing than those she usually saw,—may have quickened the germ, and been the cause of her development. The book was at first called First Impressions, and under this title she herself frequently refers to it; but some time later she re-christened it by the name under which it was published.
The idea that the name Pride and Prejudice was suggested by some sentences at the end of Cecilia has been mooted, and though arguments against this supposition have been found, it appears extremely probable. For in Cecilia it is declared, “The whole of this unfortunate affair has been the result of PRIDE AND PREJUDICE,” which last words are repeated twice on the same page, each time in large type so that they catch the eye. Cecilia itself might well have borne this title in reference to the pride and prejudice of the Delvile family. The book was published in 1786, and we know that Jane had a great admiration for Miss Burney’s work. In re-reading it some time subsequently it may very easily have struck her that “Pride and Prejudice” was an improvement on her own more common-place title, and there was nothing to prevent her adopting it. The repetition of two striking qualities and the alliteration may further have given rise to Sense and Sensibility, which also replaced an earlier title of Elinor and Marianne.
Pride and Prejudice was apparently written solely to gratify the instincts of the writer, without any thought of publication. But after it was completed, a year later, November 1797, Jane’s father wrote for her to the well-known publisher Cadell as follows:—
“Sir,—I have in my possession a manuscript novel comprising 3 vols. about the length of Miss Burney’s Evelina. As I am well aware of what consequence it is that a work of this sort should make its first appearance under a respectable name, I apply to you. I shall be much obliged therefore if you will inform me whether you choose to be concerned in it, what will be the expense of publishing it at the author’s risk, and what you will venture to advance for the property of it, if on perusal it is approved of. Should you give any encouragement I will send you the work.”
This proposal, modest as it is, was rejected by return of post. One would have thought that the success of Miss Burney’s books would have made a leading publisher anxious to look at a work on similar lines, but no—Pride and Prejudice was destined not to be published until 1813, sixteen years later!
As we have said, it is unanimously accorded the premier place amongst Jane Austen’s novels, partly because it is full of that brilliancy and sparkle which are its author’s greatest characteristics, and partly because of the inimitable character of Elizabeth Bennet, whose combined archness and intelligence captivate everyone. Elizabeth is the embodiment of the heroine so many authors have tried to draw. Witty without being pert, having a reasonable conceit of herself without vanity, and a natural gaiety of heart that makes her altogether lovable. Whether she is repelling the patronage of Lady Catherine de Bourgh, or chaffing the sombre Darcy, she is equally delightful. Her first scene with Lady Catherine embodies much character—