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By J. McMaster

In those essays, Juliet McMaster's habitual hindrance is with the interpenetration of intelligence with emotion between Jane Austen's characters. the writer starts off with an exploration of Austen's burgeoning reputation in our tradition, via shut experiences of lesser-well identified works akin to "Love and Friendship" and "The Watsons", and customary texts corresponding to "Pride and Prejudice" and "Emma". She then strikes directly to a wide-ranging exploration via all of the novels, of the operation of affection and the articulation of hope.

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Extra resources for Jane Austen the Novelist: Essays Past and Present

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See "The Victorian 'Society' View," in Jane Austen: The Critical Heritage, ed. C. Southam (London: Routledge & Kegan Paul, 1968), p. 201. 8. Joan Austen-Leigh, "Editorial," Persuasions (annual journal of the Jane Austen Society of North America), 4 (1982), p. 2. 9. "The Lady Novelists," Westminster Review 58 (July 1852), 134. Reprinted in Jane Austen: The Critical Heritage, p. 140. 10. C. Southam, Jane Austen: The Critical Heritage, 25. 11. See Southam, p. 240. 12. In "Apropos of Lady Chatterley's Lover," 1930.

Who has not pleasure in a good novel, must be intolerably stupid. I have read all Mrs. Radcliffe's works, and most of them with great pleasure" (NA, 106). This intimate relation of admiration with mockery needs to be understood as informing "Love and Freindship" too. Reading novels and critically reacting to them were clearly the great delights of young Jane Austen's life. And her delight needs to emerge as well as her mocking judgement when we teach her youthful burlesque. Suppose that "Love and Freindship," instead of being written by a 14-year-old girl for the small circle of her family, had been written by Byron - as it well might have been, in the same wicked mood in which he wrote "English Bards and Scotch Reviewers": it would surely have been published in its own day, and read, and laughed over, and quoted, and become part of the canon.

Litz, p. 19. We can infer that "First Impressions" was epistolary from the fact that Jane Austen's father cited Evelina as the model when he wrote to the publisher Cadell in 1797. See A. Walton Litz, "Chronology of Composition," in The Jane Austen Companion, ed. J. David Grey, A. Walton Litz and Brian Southam (New York: Macmillan, 1986), p. 47. 3 The Beautifull Cassandra" Illustrated My idea for an illustrated version of "The Beautifull Cassandra," one of Jane Austen's early stories in Volume the First, was born at the 1987 conference in New York on the juvenilia.

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