By Janet Todd
Overlaying many features of Jane Austen's existence, works and old context, this number of essays offers the main entire one quantity creation to her existence and instances. The generously illustrated selection of concise contributions is prepared alphabetically, and covers subject matters starting from biography to pics, severe responses to translations, agriculture to move. An essay at the reception of Austen's paintings is usually integrated, exhibiting how feedback of Austen has answered to literary pursuits and models.
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Additional resources for Jane Austen in Context (The Cambridge Edition of the Works of Jane Austen)
W h e n defending Edward to Marianne, Elinor notes, 'The excellence of his understand ing and his principles can be concealed only by that shyness which too often keeps him silent' (S&S, 1:4; my emphases).
5. ', Temple Bar 67 (February, 1883), 277. 6. Minor Works, ed. R. W. Chapman, revised edition (Oxford: Oxford University Press, 1988), facing p. 242. 7. Details in David Gilson, A Bibliography of Jane Austen, corrected edition (Winchester: St Paul's Bibliographies, 1997). 8. 'Chronology of Pride and Prejudice', in Pride and Prejudice, revised edition, ed. R. W. Chapman (Oxford: Oxford University Press, 1988), p. 401. 9. James Edward Austen-Leigh, A Memoir of Jane Austen, second edition (1871), p.
W. Chapman (Oxford: Oxford University Press, 1988), p. 401. 9. James Edward Austen-Leigh, A Memoir of Jane Austen, second edition (1871), p. 295. 10. Anna Austen Lefroy in a letter to JEAL, 8 August 1862, Hamp shire Record Office, M S 23M93/86/3c-118(ii). 11. Mary Waldron, Jane Austen and the Fiction of Her Time (Cambridge: Cambridge University Press, 1999), p. 26; Jan Fergus, Jane Austen: A Literary Life (Basingstoke and London: Macmillan, 1991), p. 115. 22 3 Language ANTHONY MANDAL In an unsigned review of Emma published in 1816, Walter Scott draws particular attention to the domestic realism of the novel's anonymous author, whose fiction he perceives as bearing 'the same relation to that of the sentimental and romantic cast, that cornfields and cottages and meadows bear to the highly adorned grounds of a show mansion, or the rugged sublimities of a mountain landscape'.