By Barbara Hardy
A interpreting of Jane Austen (first released by way of Peter Owen in 1975) has verified itself with critics and readers as a great contribution to the transforming into literature in this writer, jam-packed with clean and stimulating perceptions. valuable to the observe is Bar
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It is also a world where the individual communicates with others, even in 2a Her advice to her niece Anna Austen is well known,'... your descriptions are often more minute than will be liked. You give too many particulars of right hand & left'. (Letters, p. 401) The Flexible Medium 35 the most intimate relations, through manufactured things. Harriet's treasures are filched, not given, like her love. Emma's picture of Harriet is as imperfect in execution, as it is dubious in purpose. Frank Churchill's present of the pianoforte is a frivolous, self-regarding gift, like the thoughtless alibi of the London hair-cut which he manufactures to cover it.
But whatever the importance of argument and idea in the novel's action, and however imperatively argument and idea are demanded of the central character, Jane Austen's people are always creatures of strong feeling. The heroines and heroes are not specialists in feeling. Humours are reserved for the irrational. Jane Austen never thinks of her heroines as 'frail vessels', as George Eliot and Henry James did, and they are all capable of strengths of feeling. The feeling she is most concerned with is sexual love, but never exclusively.
Frank Churchill's present of the pianoforte is a frivolous, self-regarding gift, like the thoughtless alibi of the London hair-cut which he manufactures to cover it. These things give the novel its solidity of specification and link people through the social actions of purchase, donation, acquisition and display. The most private relic or fetish has its social significance. Throughout the solitary and the social scene, the author is in charge. She is probably the most discreet guide in the English novel.
A Reading of Jane Austen by Barbara Hardy