Reading Group Discussion of “Gothic Novels And Northanger Abbey”
Discussion Leader: Pauline Beard
Hostess: Pauline Beard
By Vonnie Alto, Secretary
 
 In September, Professor Emeritus, Pauline Beard both hosted and led our reading group discussion at her lovely home, Chateau Beard on “Gothic Novels and Northanger Abbey.”
 
We dined on a lovely tea spread of  finger sandwiches, chicken broccoli salad, berry pie, grapes, banana nut bread, short breads, an assortment of cheese, crackers, and gourmet cookies,.
 
Elections were held. We now have two Co-Region Coordinators. Margaret Christmann stays on board but now Marcia Hamley is Co-Region Coordinator with her. Also new on board is Sylvia Foster as Treasurer 2. Suzanne Frye remains as Treasurer 1 and Vonnie Alto as Secretary.  
 
We then discussed “Gothic Novels and Northanger Abbey.” A fascinating and intoxicating exchange of ideas followed!
 
First, we looked at Gothic Tropes from The Gothic Wanderer: From Transgression to Redemption  by Tyler Tichelaar:

• Confusing and convoluted plot devices.
• A beautiful, vulnerable heroine, who is orphaned with some secrecy about her family and who eventually becomes rich.
• The heroine’s guardian is after her fortune, which she is unaware of (often involving land and property and money.
• The heroine is often abducted and forced into frightening situations, sometimes helped by maids or ancient housekeepers.
• Exotic settings: France, Italy, etc. with forests, castles, abbeys with locked rooms and closets and dark secrets of the ancestors of the families. 
• The hero is always dashing and good looking.
• The lovers can’t get together.
• Secret passageways
• Gloomy passages.
• Clanging trapdoors.
• Evil men are often related to the heroine.
• Supernatural warnings.
• Ghosts and demonic beings.
• Women fleeing.
• Servants help/hinder.
• The secrets are revealed and the heroine is rescued by a gallant young man who falls in love instantly with the heroine but has to suffer before they're married.
  

 
This led us to examine the Gothic books that Isabelle Thorpe recommended to Catherine Morland  in Northanger Abbey (1798-1799). They are known as the “Horrid 7” in the following order of their appearance: The Castle of Wolfenbach, (1793) Clermont (1798), The Mysterious Warning (1796), The Necromancer (1794), The Midnight Bell (1798), Horrid Mysteries (1796), and The Orphan of the Rhine (1798). Interestingly, these titles were part of a heyday clustering of Gothic books published by both women and men in the 1790s.
 
Then there’s Ann Radcliffe’s influence (1764-1823). Radcliffe’s The Mysteries of Udolpho (1794) was one of the most popular Gothic novels during its time. Catherine Morland is completely obsessed with reading it. Our group had a fun time comparing and contrasting the description of Radcliffe’s castle with that of Northanger Abbey. Although there wasn’t time for us to read more than a one page comparison, none of us fainted or required smelling salts to recover from our macabre dissection.
.
Lastly, we turned our attention Catherine Morland; her interest in Gothic novels, her lively imagination, and the harsh reality of her life as a Gothic heroine.  For some of us, Northanger Abbey is our favorite Jane Austen novel. We all agreed that Northanger Abbey is a more complex work of fiction than initially seems and that Catherine is a strong heroine who doesn’t faint or go into a coma
 
For more on this topic, see the accompanying handouts.
 
 
 
 
 
 
 
 

Our JASNA Oregon & SW Washington Region is thrilled that our member, Pauline Beard, Professor Emeritus is our 2019 Tribute Grant Honoree! Pauline has been an active member of our region for 30 years. She has served as Regional Coordinator, discussion leader numerous times, and co-chaired the committee that planned the 2010 AGM in Portland. She's always willing to assist and provide her expertise and knowledge of Jane Austen to discussions and other regional events.

Pauline enjoyed teaching about Jane Austen at Pacific University in Forest Grove. She presented papers at 5 AGM's! Two of her essays are published in Persuasions On-Line. Another essay on illness in Austen novels has 891 downloads in Common Knowledge Pacific University. Pauline also has a YouTube video of a satire on Pride And Prejudice And Zombies. 

We are delighted that Pauline was profiled on the back cover of JASNA News, Spring 2019 which was the final issue of former Editor, Sheryl Craig.

To honor Pauline, we photographed her at our March meeting at the elegant Portland Mirabella. Congratulations Pauline! We appreciate your many years of devotion to our Oregon/SW Washington Region!  

 Here are some fun photos of Pauline Beard, Professor Emeritus. She traveled to England and Europe this  summer 2019. Of course, she visited the Jane Austen Centre in Bath. Here she is there in period costume with her brother's family.

In the first photo, Pauline is wearing a white day hat and pink cotton dress with a short jacket over the top. Her great niece is seated, also wearing a cotton dress with a mop cap and cleverly hiding her cell phone behind her fan. Pauline's nephew is wearing a military uniform and hiding his shorts behind the chair. His wife is wearing a more silky dress with a velvet jacket and a silky day hat.

In the second photo, a Mr. Darcy look-alike poses with Pauline and her sister-in-law. A fun time was had by all!

Later, Pauline journeyed to Portugal. Here she is outside the book shop where J.K.Rowling wrote Harry Potter and got the idea for her spectacular fictional book shop. What is interesting is that Rowling taught English in Porto in the 90s, and is said to have written some of the series in the shop.

There are huge lines of 4,000-5,000 people a day! They're there to  buy tickets and then to get to the door with their ticket! The shop got so crowded that the owners had to start charging entry as fans flocked in to take photos without buying a book.

Jane Austen and the Theater
Spring Tea 2019
Fairway Village Club House
Vancouver, WA
Hosts: Nan and David Williams
Speaker: Kimberly Brangwin Milham
By Vonnie Alto, Secretary
 
For the third year in a row, our region held its annual Spring Tea at the beautiful Fairway Village Club House in Vancouver, WA on Sunday, April 28th. Nan Williams and her husband, David were the hosts.

This year, Val Bloye with Mary-Elise Diedrich assisting made the table decorations to compliment our theatrical theme. Charming baskets of fresh and dried flowers adorned the tables with miniature two-sided placards advertising Georgian theaters and plays of the era with period actors/actresses. 

Our tea table included a potluck style of scrumptious main dishes and delectable desserts which included baked ham, beef summer sausage, a cheese plate platter, tea sandwiches, shrimp, lentil salad, chicken salad,  pretzels, cherry tomatoes, banana nut bread, Devonshire scones with clotted cream, Ruby Berry Eton Mess, shortbread, chocolate chip cookies, and savory caramels.     

Many of our ton dressed in Regency and Georgian costume to celebrate our Spring Tea. Of course, we held our own emporium of Jane Austen books, merchandise, and Regency era attire which raised over $200! This helped fund our annual Tribute Grant for one person each year to attend the JASNA AGM who has never been there.

Amid our festivities, Tribute Grant Creator and former Region Coordinator, Kim Higgins, announced our 2019 Tribute Grant Recipient: Lauren Bruss.  Lauren has been a member of our region since 2015 and claims to have read all of Jane Austen's works by the time she finished high school. One of Lauren's favorite novels is Northanger Abbey, as she has always related strongly to the novel's heroine. We are delighted that Lauren was awarded our Tribute Grant so that she could delve further into the world of Catherine Morland at the Williamsburg AGM--the ideal environment for Lauren to seek a a little mischief and adventure of her own!

Our Spring Tea speaker this year was Kimberly Brangwin Milham who is an active JASNA member and a renowned expert on theater, food, crime, and etiquette. She has performed in numerous plays for regional meetings and the national JASNA AGM. We were in for quite a treat. Kimberly’s extensive knowledge of Jane Austen and the Regency ere allowed us all to experience Georgian theater.
 
Kimberly attended dressed in Georgian attire and enthralled us all with her knowledge of the risqué world of Georgian theater, its high drama both on and off the stage. She gave a lively and informative discourse with anecdotes, humor, and slide projector visuals about the actors and actresses and playhouses in London and Bath during the time of Jane Austen, including Jane Austen's love of theater.—whether performing in home theatricals with her family at holidays or attending the grand theaters of London or Bath.
 
What Did We Learn About the World of Georgian Theater?

• Plays began in the afternoon. The entire theater showing could last as long as 6 hours.  Prior to a theater showing, dancers and singers performed. Good plays were often performed twice.
•  A play’s run was approximately 1-2 weeks.  
• There was no copyright, so there was lots of stealing of plots and lines.
•  The perception of theater is “possibility.”
•  Theater is ephemeral. It’s enticing and offers illusions and dreams. The actors are not being themselves. Women show their legs. Men dressed as women.  Indeed, cross dressing for both men and women was a crowd pleaser. Age, size, infirmity, and infamous/famous reputations didn’t limit an actor’s appeal. Once you became known for a role, you could play it for decades.  
• Actors and actresses had longevity in their careers. Muted lighting of candles and lamps, rouge  makeup, and physical distance from the audience made it possible for older actors to act.
• In 1807, London had gas lamps. Actors found lamp light more flattering than oil lamps. In 1817, cold gas was used to light Covent Garden with a green light.
•  Theater was a big part of the middle and upper class and a welcome venue for them. The gentry thought that the theater was about seeing and being seen and coming and going.  
• Legitimate theater was real theater and not musical theater.
•  The audience and actors expected a participatory experience. Performances were often interrupted by guffaws and applause.  
• Fire destroyed theaters and happened frequently due to hazardous lighting and draperies. In 1808, a fire destroyed Covent Garden. It started at 4 am and within 3-4 hours, the entire theater was demolished. In 1809, Drury Lane burned.  In 1811, the theater was rebuilt which Jane Austen attended with her brother.
•  Most towns had their own theaters, in a horseshoe shape circle. The larger ones were built for 800 people and crowded.  
• The Monthly Mirror was similar to People magazine, filled with gossip about the actors and very personality driven.
•  Memoirs of actresses were greatly sought after whether or not they were true.

 
 The Actors of Georgian Theater:

• Famous actors were David Garrick (1717-1779) and John Kemble (1757-1823).  Kemble created a legacy. His older sister, Sarah Siddons achieved famed with him on the stage. His nephews and grandson continued his legacy as an actor.  
• Sarah Siddons (1775-1831) was a famous actress of Drury Lane. Women would faint away at her drama. Theater goers really thought she had died during her death scenes and moaned in terror.
• Edmund Kean (1787-1833) as Othello theatrically died in his last performance in 1833 when he collapsed into the arms of his son, Charles who played Iago. Kean died 2 months later.  
• Mrs. Dorothea Jordan (1761-1816) had several pregnancies during 20 years while acting. People loved her best in low cast roles of country maids because of her sassy humor.

 
Playwrights that Jane Austen Saw:

• Susannah Centlivre (1667-1723) was an English poet and actress and also “the most successful female playwright of the 18th century.” She published 17 plays.    
• Hannah Cowley (1743-1809) was an English dramatist and poet. She wrote 13 plays including the romantic comedy, The Belle’s Strategem about marriage and how women strive to overcome the injustices imposed by social customs and traditions as well as family life.
• Elizabeth Inchbald (1753-1821) wrote Lover’s Vows (most famous because Jane Austen made it famous when she referred to it in Mansfield Park),  
• Richard Sheridan (1751-1816) wrote The Rivals and School for Scandal which are his most popular plays which are still performed today.

 
Jane Austen’s Love of Theater:

• Jane Austen’s writings have a modern feel which makes it easy for adaptation. Jane understood dramatic elements. She also understood the structure of plays into acts. She used to read plays aloud with her family. One of her brothers noted that he thought her talents far exceeded the written works and sometimes the performances.  
• Jane Austen’s writings were inspired from her visits to the theater.
•  In 1799, Jane attended her first professional play with her brother, called Lover’s Vows which she referred to in Mansfield Park.  Jane liked farce and saw The Devil to Pay by Charles Coffey.

Reading Group Discussion of “Jane Austen: Myth, Reality, and Global Celebrity”
Online Course from Futurelearn.com
at Mirabella Retirement Community
Hostess: Ceil Huntington
Discussion Leader: Marcia Hamley
By Vonnie Alto, Secretary
 
Ceil Huntington hosted our March meeting at the elegant Mirabella Retirement Community on Bond Avenue and SW River Street in Portland. It was beautifully catered by the resident chef which included gourmet hamburgers, fresh vegetables, caviar, and coffee. Members added to the buffet by bringing clementine cake, oranges, tarts, cookies, breads, and other pastries as well as grapes, cherry tomatoes, olives, tea sandwiches, petite quiches, and mini strawberry croissants.
 
Pauline Beard, Professor Emeritus, was acknowledged as our 2019 Tribute Grant Honoree for her many years of contributions to our region.
 
We received an update on the Jane Austen garden plaque at Chawton House that we’re co-sponsoring with the Southern Oregon JASNA region. The quote on the plaque is from Pride and Prejudice: “As the weather was fine, they had a pleasant walk of about half mile across the park.”
 
Jane Austen enthusiast, Marcia Hamley, led a most engrossing discussion on what we learned from the 3 week online course, “Jane Austen: Myth, Reality, and Global Celebrity” given at Futurelearn.com by Jane Austen experts Gillian Dow and Kim Simpson. Marcia gave a culturally erudite in depth overview of the course, complete with a handout of recommended reading, the course outline,  portraits of Jane Austen, and the article, “A New Portrait of Jane Austen” by Melissa Dring: <https://www.janeausten.co.uk/the-jane-austen-portrait/> 
 
Marcia noted that the course puts events into the context of Jane Austen’s life and how it affected her and her artistry--such as war, bank failures, French Revolution, American Revolution.
 
An insightful discussion followed where we both learned and gave input on female education and reading in the 18th century and in Jane Austen’s novels, what Jane Austen means to us and others, the places that mattered to Jane Austen, what Jane Austen would have read, what Jane Austen’s reading tells us about her novels, artistic and financial influences on Jane Austen, her legacy, and how Jane Austen has been described to the world through biographies, portraits, and film.
 
Much time was spent discussing what Jane Austen actually looked like. How intriguing it was to analyze the various portraits of Jane Austen! We looked at how Jane’s sister Cassandra’s sketch of her grew and evolved from an unfinished grimacing, "cranky" face into the finished portrait now on the new ten-pound bank note. We all agreed that her family promoted an image of the Victorian ideal when in fact, Jane probably looked different from the portraits.  
 
The commentary flew fast and furious among our group. So lively was it that nearly every subject imaginable was addressed. 
 
Insights gleaned from our discussion produced a melange of interesting tidbits and even oddities:

• The early translations of Jane Austen’s works (first in French) were rewrites that did not contain the true meaning of her text. Subsequently, Pride and Prejudice was abridged, with a few excerpts printed as a magazine serial! Sense and Sensibility was rewritten, including the ending! And Emma was promoted as a guide to English manners! Since Jane lived across the channel, she probably knew nothing about them.
• Marcia noted that, “Jane focuses on characters.” Both Marcia and Arnie Perlstein agreed that Jane Austen depicts a "beautiful world.”
• The silences in Jane Austen’s novels allows artistic interpretation, especially when translated to film.
• Passion summarizes the course. Jane didn’t write for dull elves. She expected her readers to interact with her text.
• Lauri Conway said that Pride and Prejudice is a good entry into Jane’s books. “It’s bright and sparkly,” Marcia noted.

• Regarding theater, Arnie said that Jane wrote about seeing this play or that play. Pauline Beard noted that the early writings of Jane was geared towards the theater.

 
We explored Jane’s world of finance:

• Jane Austen valued love over money, a reoccurring theme in her books. Member, Bill Boyd noted that, “You could have love without money” which creates a problem. Therefore, Jane was not an idealist but practical.

• It was also noted that Jane wasn’t impoverished but poor.

 
We also discussed if Jane was a feminist or not.

• Jane wanted to make sure that her heroines ended up well off within the accepted confines of society.
• Once again, Bill Boyd offered an enlightening perspective. There are “no Cinderella heroines” in a Jane Austen novel. “They didn’t marry princes. They married relatively ordinary people.”

 
In terms of education, women had to learn to play music and learn other accomplishments while young men studied classical subjects and went on grand tours. Women didn’t go on grand tours unless they were wealthy.

• Marcia noted that Jane, Cassandra, and Cousin Jane Cooper hated boarding school and appreciated the importance of a liberal education at home.
• Jane got quite a liberal upbringing. She was educated by her father and had her father’s library at Godmersham. She read women novelists, and also Shakespeare, and Richardson. Arnie Perlstein said she read everything.
• Most of Jane’s education was at home. Her father took in boys to educate. Jane was inquisitive and read what they read. 
• Arnie pointed out that Jane was mistress of all she surveyed. She was fortunate to live in a home with a gigantic library, probably holed up reading all that she found there. She likely digested enormously her father’s library in order to  have written her parody, A History of England.

 
Regarding Lady Susan:

• Marcia noted that Lady Susan is “a fabulous book. Jane Austen disapproves of her behavior but makes you love her.” 
• Pauline Beard added,”Look at the love child, the couple’s love child, the elopements. Jane was with it.” Pauline further noted that in an essay on Jane Austen, Virginia Woolf observed, “Of all great writers she is the most difficult to catch in the act of greatness.”

 
Of course, we delved into love and marriage.

• In 1802, Jane got engaged to Harris Biggs-Wither, the brother of close friends but then then backed out of it. She was pressured from her family to marry rich.
• Sylvia Foster said that the reason why Jane didn’t marry him is that she didn’t respect him.
• Our Region Coordinator, Margaret Christmann added that he was 7 years younger than Jane and more involved with his hounds.
• Why did Jane decide not to get married? Marcia pointed out that “Jane wanted a career as a writer. Pregnancy could kill her.”

 
The dark side was also explored.

• Arnie said that Jane Austen wrote about families and that there’s an undercurrent of abuse in Jane’s novels. Jane was into the dark place.
• Arnie recommended Read Jane Austen for Dummies. There’s also an online article in Persuasions about Fanny as a victim of circumstances. 
• Marcia recommended the biography, Jane Austen, by Claire Tomlin which focuses on Jane Austen’s family and community.
• Arnie mentioned the theory that Jane was poisoned by her sister in-law. A lock of Jane’s hair was discovered with arsenic. This serves as the premise for the film, Miss Jane Austen Regrets. See also The Mysterious Death of Miss Jane Austen by Lindsay Ashford.
• Suzannah Fulton wrote, Jane Austen in Crime, in which the darker side of Jane Austen’s world is explored.  During the time of Jane Austen, criminals were left hanging on hooks on highways.
• For more on the dark side, see Arnie's blog, Sharp Elves Society...Jane Austen's Shadow Stories  http://sharpelvessociety.blogspot.com/

 
We discussed the cult of sensibility.

• Apparently, a lot of literature popularized sensibility, defined as committed to over reacting. People, especially women should be in touch with their emotions to ridiculous degrees. Kim Higgins called them “drama queens.” Marianne in Sense and Sensibility was committed to over reacting over everything. Both Marianne and Elinor have things to learn and both learn from each other. Marianne is the more dramatic example.   
• Cads could be saved. Women could convert them instead of staying away from the Willoughbys of the world.

• Sylvia Foster pointed out that “sense” is equal to the American Revolution while “sensibility” is what the French Revolution was about.
•  Deb Rossi recommended, Jane And Dorothy: A True Story of Sense and Sensibility: The Lives of Jane Austen and Dorothy Wordsworth by Marian Veveers. 

A lively discussion followed on film adaptations:

• Generally most people hate Kiera Knightly in Pride and Prejudice.
• Marcia said that younger women really like the 1995 Kiera Knightly version.
• Marcia is a great fan of the Pride and Prejudice version of Colin Firth and Emma Thompson.
• Marcia noted that it’s very interesting to watch Jane Austen movies now that she’s read the books.   

 
Arnie Perlstein asked, what did you learn that you were surprised?

• The section on money and capital is new to Future Learn which addressed Austen's finances, the harsh reality of the marriage market, attitudes toward money and class through the different characters in her novels, and currency conversion to see what different characters would be worth today.
• Education and women in the period was enlightening. Mary Wollstonecraft advocated that women are rational creatures and should be educated like men. Arnie said that Mary Wollstonecraft lived an unconventional life, lived independently and did what she wanted.
• We also discussed museum exhibits and how Jane Austen displays are curated--particularly the wonderful artifacts from the Jane Austen House Museum: her very small writing desk, her turquoise ring, and most personal of all, a cutting her hair! It was noted that the cutting of hair was a common tradition among families after a death.
• Marna Tisdel said that all databases are interesting with enlightening articles and we can find out who was buying Jane’s books and where.
• Sylvia Foster appreciated the many links to follow. 
• Marcia collected links to read later and made sure she read the course. For more information, see the handout on Recommended Reading. Fortunately, the course will be offered again 2-3 times a year at FutureLearn.com.
• Kim Higgins noted that the course forced us to go out of our comfort zone to look for things in the future.
• Arnie’s tip: Make all files digital. He printed out boxes of files for his study on Jane Austen which gathered dust. Now he has everything digitized which is easier to search and find.
• Marcia saved everything in the course and created a master file of it. However, when Marcia first took it, she reviewed the course without the comments and discussion because there were so many links in the discussions.

 
Thank you, Marcia Hamley for suggesting this topic and leading the discussion. What a fun way to explore Jane Austen!

Review of Kate Hamill's Sense And Sensibility
Portland Center Stage Armory
By Vonnie Alto, Secretary

After our pre-talk Happy Hour of Jane Austen, our members adjourned to the theater where we sat together for a Sunday matinee of Kate Hamill’s adaptation of Sense and Sensibility, performed on February 3, 2019. What a fun performance of comedy and creative staging with spinning furniture and a mercurial cast who played multiple characters regardless of gender, generation, size, and shape!  
 
Early on in a time travel twist, the cast wriggled out of their modern day garments to transform into the 19th century characters of Sense and Sensibility. They did not disappoint our sensibilities. The cast was constantly but sensibly in motion and also emotion back and forth fluidly across the stage spinning their chairs and tables to denote scene and character changes. There was so much to see that if you didn’t eyeball the myriad movements all at once, you could easily miss the gossip that was all abuzz in this lively production.
 
Then there was the sound effects. The delightful Mrs. Jennings constantly buzzed her gossip. Other characters disappeared off stage and into the aisles to interject their gossipy conversation. The crashing of glasses for dramatic emphasis and scene changes kept the audience alert to the unexpected.
 
Similarly, if you knew in advance that a line from Emma was inserted into the play, you looked for it. Sure enough one was in Edward’s engagement speech when he says to Elinor, “If I loved you less, I might be able to talk about it more.” Sigh! What a romantic thing to say and so apt!
 
Professor Emeritus, Pauline Beard caught the pilfering. “This is Mr. Knightley’s lovely line in Emma. (Chapter 49). No wonder the playwright used it. Edward’s engagement request is written in the third person with a remarkable distance from what was actually said. Clever move on the playwright’s part.”    
 
What else did our JASNA group think about the play? What were some of the reactions?
 
Of course, we raved and gushed about the characters, their wit, the acting, the setting, and everything in between.
 
Stephanie Vardavas said, ”I thought the adaptation and staging were extremely clever, and I found myself howling with laughter many times. The actress who plays Mrs. Jennings is wonderful, and both Marianne and Elinor are terrific.”
 
Erudite JASNA scholar, Arnie Perlstein offered, “"This production of Kate Hamill's adaptation of Sense & Sensibility was spectacular in every way-- the writing, the staging and the acting." 
 
Longtime member, Dula Baker said, “Anyone not familiar with the novel would have been lost in the fast pace of the play. I found the quirkiness of the quickness, the wheeled props, and the trading of roles (even while both characters were on stage) fascinating. The actress who played Mrs. Musgroves was outstanding. The choreography was amazingly executed; no one sailed off the stage or crashed into anyone or anything. Though the novel is not funny, this play was hilarious; even the actors succumbed to silent laughter at times. This event was an afternoon well spent! Also, the Happy Hour provided by the theater and Margaret Christmann's presentation were well received.”
 
Another longtime member Ceil Huntington affirmed, “The synchronization was amazing! I never seen so much movement in a play. It’s incredible, almost like a ballet. I’m impressed with the mechanics.”
 
English Professor Emeritus, Pauline Beard agreed, “It was light hearted and fun rather than farcical. I also appreciated that this production kept fairly closely to Austen’s text. I loved the fact even the wine for Marianne was mentioned correctly: Constantia…which Elinor promptly quaffs!  I disliked the way Lord Middleton’s dogs were shown in the Ashland production...far too confusing and loud, but here I laughed out loud at the line about pointers...referring to the dogs...but using the stretched out finger pointing off stage where three men pointed back.... I also loved the bed scene with the lamp and teacup...ingenious. The use of chairs and door frames was amazing...how anyone did not get in the way I can't imagine. When Edward came in at the end did he really mean to fall? The actors applauded him…but I think it was a mistake yes?  Maybe they had many such slips and trips in rehearsals with all the movement...it seemed almost choreographed at times.”
 
Conversely, a few of our members offered some enlightening criticisms that puts the performance into perspective:
 
Ceil Huntington noted, “They’ve taken liberties with the text. This is slapsticky.”
 
Pauline Beard added, “My only criticisms are to do with acting...I think Mrs. Jennings went on too long about Chapman (?) in her bedroom…and it turns out to be her wolf hound…it was funny at the beginning but she drew it out so lengthily (playing for the limelight after The Oregonian review maybe?) that the actor playing Brandon had to get back into his serious role and lost it. Also the actress playing Anne Steele was too high pitched and spoke so rapidly that half of her lines were lost. Her lines are important because she lets out the secret of Lucy’s engagement. I think that might have been lost on anyone in the audience who does not know the text.”
 
There you have it! Both thoughtful and off the cuff reactions to Kate Hamill’s Sense and Sensibility in Portland! If you’re curious to know more about this intriguing play, read the script available at Multnomah County Library or online at Amazon and elsewhere.
 

JASNA'S Happy Hour With Jane Austen:
Portland Center Stage Armory
by Vonnie Alto, Secretary

Kate Hamill’s Sense And Sensibility began its run in January 2019 at the Portland Center Stage at the Armory. We were all abuzz with her rollicking adaptation of it. Our members attended various showings which included Happy Hour events such as “How to Write Like Jane Austen” presented by Willamette Writers (see previous post) and “Advance Gender Equity in the Arts” presented by the cast.
 
Of course, our region participated in our own pre-show Happy Hour in the Alan J. Beard Mezzanine prior to the Sunday matinee showing of Sense and Sensibility on February 3, 2019. Our Region Coordinator, Margaret Christmann attired in Regency dress gave a delightful presentation titled, “Hooked on Jane Austen? Let’s Talk!”    
 
Margaret provided a brief biography of Jane Austen’s life, her writings including Sense and Sensibility, and Jane’s love of the theater. She attended performances whenever she was in London or Bath.
 
Jane Austen was born on December 16, 1775 in the village of Steventon In Hampshire. She was one of eight children. Her father was a clergyman.
 
Jane lived at home her entire life and helped run the family home. Jane’s parents encouraged Jane and her siblings to read and write plays. Jane’s early works or Juvenilia included three plays: “The Visit,” “The Mystery,” and “The First Act of a Comedy.”   
 
The Austen family also performed comic theatricals in their home. Later as an adult, Jane took part in unrehearsed performances and readings at home with her family.
 
While growing up, Jane also wrote several stories and read them aloud to her family for feedback and critique. At the age of 12, Jane wrote her first novel titled, The Beautiful Cassandra. She wrote Love and Friendship, an epistolary novel when she was about 15 years old. During this time, Jane also wrote The History of England in which she mocked the portrayal of English monarchs in school textbooks by writing her own mischievous history of them.
 
In her twenties, Jane wrote three novels: Northanger Abbey (1798-1799), Sense And Sensibility (1798), and Pride and Prejudice (1796-1797).  In her later years, Jane wrote Mansfield Park (1813), Emma (1814-1815), and Persuasion (1816).
 
Jane Austen also wrote Lady Susan, an epistolary novel in 1794 and continued to revise it throughout her life, carrying it with her wherever she lived. Eventually, it was published in 1871.
 
Jane Austen stopped writing her final novel, Sandition, in 1817 which remains a fragment of eleven chapters. It was later published in 1925.
 
Only four of Jane Austen’s novels were published in her lifetime and all anonymously:  Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1815).
 
Northanger Abbey and Persuasion were published posthumously in 1817, six months after Jane Austen's death.
 
Jane Austen also left behind her letters, but many were burned by her sister, Cassandra after her death and later family members destroyed other letters.
 
Later, a nephew wrote A Memoir of Jane Austen in 1869, which was published that year.
 
Jane loved the theater and attended performances in both London and Bath. Jane also played the piano. She loved to dance and was an accomplished dancer at assemblies. 
 
Jane died at the age of 41 on July 18, 1817 from a lingering illness. Experts have debated the cause as Hodgkin’s Lymphoma, an adrenal disorder called Adddison’s Disease, and even the possibility of death by poisoning.  She was buried in Westminster Cathedral.
 
In the early 1900s, scholars started studying her works.
 
Thanks to the actor, Colin Firth and his 1995 portray of Mr. Darcy in Pride and Prejudice, Jane Austen is more popular than any time in history and has never lost popularity. Her fame has gradually increased over the years and decades.
 
Sense and Sensibility was originally written as an epistolary novel or series of letters titled. Elinor and Marianne. It was a difficult book to write because the characters were not in the same location as Jane had her characters write back and forth to each other. Later, Jane revised it into a novel form which was published in 1811 anonymously “By A Lady.” She paid to get it published into three volumes. It earned 140 pounds and sold out in 2 yrs.
 
Our Region Coordinator, Margaret Christmann also provided an introduction to the Oregon and SW Washington Region and how to join our local group and the national JASNA. Our local JASNA group gets together regularly to talk about Jane Austen, her books, her life, and the events and people important in her time.
 
In 2010, we hosted the national meeting, a conference of workshops with both informal and scholarly talks. It was titled, “Jane Austen and the Abbey: Mystery, Mayhem, and Muslin in Portland.”  Here’s the website link: http://www.jasna.org/agms/portland/index.html.
 
We welcomed new members, those reading their first Jane Austen novel and those who have re-read her books many times. Margaret insightfully said, “You don’t need to be an Austen expert to feel at home in JASNA although you may become one as you attend our meetings. “
 
Afterwards, our members adjourned to the theater where we sat together for a riveting showing of Sense and Sensibility.

How to Write Like Jane Austen Recap
at Portland Center Stage Armory
by Vonnie Alto, Secretary
 
Jane Austen aficionados gathered for Happy Hour at the Portland Center Stage Armory to hear the Willamette Writers pre-talk, “How to Write Like Jane Austen“ prior to the showing of Sense and Sensibility on January 22, 2019. Academic librarian, Elizabeth Brookbank and instructor/writer Amy Foster-Myer discussed what makes Jane Austen unique and how we can write like her today.
                          
Both speakers have each completed a novel set in the time of Jane Austen which they hope soon to publish. They graciously provided a plethora of tips on how to do the same.
 
Amy Foster-Myer’s book is a Jane Austen time travel novel in which a modern day heroine, Emma Wood, accidentally falls out of a window in a shop on the Pulteney Bridge and into the Thames River at a Jane Austen festival in Bath. Mark Landen, with whom she has a flirtatious friendship attempts to rescue her, and falls into the river too. Interestingly, these thwarted lovers actually live an ocean apart and only see each other in person during the 10 days of the festival. They have never taken their relationship seriously. When they emerge from the river, they have fallen back in time to 1802 where they meet Jane Austen who becomes a character in the story.
 
Amy noted that it is during this time that Jane Austen probably experienced her “lowest emotional point in life—loss of home, living in a city she despises, loss of love (either through death or marriage to another), etc. Because ultimately, this is also what Emma is grappling with—how does one willingly step into the unknown whilst also knowing there may be nothing but a long drop and a dark period ahead of you?”
 
Amy stated that she pays homage to Austen’s plotlines by creating “a pair of thwarted lovers whose own poor choices and inability to speak openly about their feelings results in separation, wounded feelings, and an emotional distance that seems insurmountable. It is only over the course of the novel, in learning the lessons of friendship and love, that they can overcome their own obstacles and achieve ‘rational happiness.’”  Thus, it’s a story of miscommunications and misunderstandings about a modern heroine who also insightfully comments on Georgian society.
 
Amy wrote this fun book while taking a Literary Arts workshop titled, “How to Write A Novel in 8 Weeks.” Amy’s suggests that we read Jane Austen to write like her. Amy watched Jane Austen movies the entire time while writing her novel to keep herself engrossed in the world of Jane Austen. She read letters of Jane Austen and noticed her “snarky, prickly, and wry wit.” Amy said that Jane’s “cruel wit” comes through her letters. Amy strove to capture that “snarkiness” in her own book.  Amy recommended Project Gutenberg for accessing Jane Austen’s letters/novels in full text with references since it was easy for her to google the subject while writing her novel. Amy recommends that if there’s a style of writing that you like, choose that as your writing voice.
 
I later asked Amy what was the challenge in portraying Jane Austen? Amy said that, “The biggest challenge in doing something so monumentally pitfall--laden as portraying a person so famous and so studied was my initial desire to ‘get it right’ coupled with the fact that we have so little actual evidence about what Austen was like, and so much debate within the community about her. Her letters are wonderful source material, but they are, sadly, so redacted by Cassandra's ever-watchful concern for both Jane and other family member's privacy that much has been lost. So ultimately, I had to make the decision to portray Jane as I believe her to be--the Jane I talk to in my head, I guess you could say. And I also wanted to capture that Jane was a bit of a prickly pickle at times! There are a number of passages in her letters where she is biting, sarcastic, and sometimes even, downright cruel. I didn't want to present some perfect image of Jane, but the real person -- or perhaps I should say, any real person. I wonder what my readership will think of her when this book is out in the world. I look forward to it, but it's a nervous anticipation. “
 
Conversely, Elizabeth Brookbank’s book is about two young women set in 1809 England during the time Jane Austen lived, but Jane Austen is not a character in it. The two women fall in love with each other which is based on a romantic friendship. Of course, everything goes wrong because Georgian/Regency era society expected that women marry men.
 
Elizabeth said that it’s necessary “to marinate” in the world of Jane Austen so you’ll write naturally like her. She watched PBS dramas/movies to get a sense of how the people back then talked. She zeroed in on the cutting, dry wit of Jane Austen, but not the sarcasm. Elizabeth also noted that what is often missing in romance novels of the period is Jane Austen’s wry wit which she strove to capture.
 
Interestingly, some writers avoid reading fiction while they’re writing fiction. Elizabeth said that’s a mistake because it’s really good to get the period into your psyche while you’re writing about it. That’s why it’s good to build a historical foundation so that when you sit at the computer you can write easily in the historical style of the time.
 
To do this, Elizabeth read about the phenomenon of historical romantic friendship before she started writing her book. However, she still had to research details (i.e. authentic dialogue, clothing, transportation, the look of houses, the age for coming out in 19th century society, etc). But be careful. It’s easy to let the research overtake the writing. After a few weeks, Elizabeth decided to separate her writing time from her research time and keeps a separate document for research notes. For editing, she uses Scrivner to make edit notes to herself in which Scriver puts red bracketed text into whatever is written. For example, [build more here] or [insert more here].
 
By contrast, Amy gives herself 5 minutes to research a subject. She also used key letters for inserting information later. She borrowed this useful method from fellow writer Evan Williams. He deliberately inserts the same arrangements of letters with brackets into various spots in his novel as a note to himself to return to that section later—either to clean it up, add a detail, a scene, or something else. Essentially, it’s a mnemonic device that you’ll remember to search for later in the revision process. For example, the bracketed letters that Williams uses is “[asdf]” is actually meaningless and doesn’t contain a particular meaning. Instead, it serves as a flag for him to add or fix something later in his novel.
 
If using Microsoft Word, type CTRL+F to bring up the search bar into your document. Then type in your code letters or special word to find those areas that you need to revise or add more information. 
 
However, it’s important to choose a selection of key letters or even a particular word that you can remember as a reminder of what needs to be done later for your book. Make sure to bracket it so that it’s separate from your story.
 
What an interesting method for inserting information! It’s also lends itself to other methods. I talked to another attender at the happy hour who extrapolated this tool and created her own method. She recommended to code it in your manuscript and index cards for research. In other words, use the first letter of a word such as “E” for editing or “R” for research that requires further attention. Then bracket it which would allow you to carry on with without losing your train of thought, yet indicate that you need to do something further with the sentence. This would send you in the direction you need to go but wouldn’t answer the question. 
 
Also, these first letter codes of a word would correspond to key letters on your index cards (i.e. E for editing, R for research--for perhaps researching transportation, vehicles, hemlines, and how people of certain spoke).
 
Both Elizabeth and Amy agreed that about 10% of research goes into a book. The rest of their research provides authority. Elizabeth says if you’ve put a lot of research into your book, then it will be boring. Don’t over explain. Instead, give a sense of the time.  Amy said that it’s important to note that Jane Austen wrote her books for the people of the time with approximately 10% giving the reader a sense of the world, but not a complete history.
 
Elizabeth said that there’s different amounts of research to include, depending on your story. You’ll need both general and specific research for accuracy. Historical information that is most important are the dynamics of the main characters (their interactions and how other characters view them) vs the history of the period (including  servants/clothing). Therefore, pick and choose specific things about what you’re writing and make it accurate.
 
Elizabeth kindly provided a handout of Regency/Georgian/Victorian England research resources. She especially recommended the Georgian/Regency blogs: “Regency History,” “Jane Austen’s World,” “Pen and Pension,” “The Risky Regencies,” “All Things Georgian,” “Austen Authors,” and “English Historical Fiction Authors.”  Also, British Baby Names and Behind the Name.
 
Inquiring minds wanted to know, do these writers write multiple projects at the same? Is it easier to do so?
 
Elizabeth said that no writing is easy. It’s all hard. She has more than one project going because it’s hard to focus on just one project.
 
Amy writes 1,000 words flash fiction short stories and also novel writes and tries to focus her energies. She recommends having something else to focus on while writing your novel so that it brings momentum to your writing. She’s always working on three different phases of writing: 1) writing the current project, 2) editing a completed work, and 3) mulling over an idea for the next project that she hasn’t yet written. This writing process is based on the writing advice she heard from local author, Fonda Lee of Willamette Writers. Lee always works on three projects at the same time: 1) the book she’s drafting, 2) the draft she’s revising, and 3) the project she’s mulling over and researching.  
 
Another attender volunteered that for her this was the biggest takeaway of the happy hour. Have three categories of writing that you’re in the process of doing: editing, writing and developing--each which requires a different length of time to complete. This keeps your interest level up and your writing exciting. Otherwise you can get stalled. If you have these three levels you’re working on, then you’ll always have something moving forward. You can work on all three levels in one day or one at a time. Then slot in a new projects as you finish one of these levels.  When you finish something, you’ll return with a new outlook and a fresh vision. Then you slot in a new project as you finish one of these levels. This way, there’s always something you’re developing and finishing.
 
So much to ponder! What an engrossing happy hour on writing like Jane Austen! Thank you Elizabeth and Amy for sharing your insightful tips on how to write like Jane Austen and how to portray Jane Austen! We look forward to reading your own novels once they are published.
 
Both Elizabeth and Amy are accessible on the web: Elizabeth Brookbank is on Twitter at elizabethbrookb and Amy Foster Myer has a blog:  https://amyfostermyer.wordpress.com/
 

Pride and Prejudice Conversation Recap
at Mother Foucalt's Bookshop
By Vonnie Alto, Secretary

On January 24, 2019, erudite Janite, Arnie Perlstein held a Pride And Prejudice conversation at Mother Foucault’s Bookshop on 532 SE Morrison Street, Portland. An intimate gathering participated for the evening in this freewheeling conversation exploring Arnie's shadow theory about Jane Austen’s fiction, focusing mostly on Pride And Prejudice.
 
Mother Faucault’s Bookshop kindly pulled a display of research books of the period along with works by Jane Austen.
 
Arnie proved again to be a terrific speaker and extremely knowledgeable about Jane Austen. His remarkable recall and attention to details was most welcoming, probably because he keeps meticulous records of articles/books he reads and researches.
 
We were asked to think about the ambiguity of Jane Austen’s characters. Isn’t it interesting that the male characters gravitate towards Elizabeth Bennet! Charlotte Lucas realizes that her friend, Elizabeth is in danger of being taken from her. One reason why Charlotte marries Mr. Collins is that he will inherit and she’ll end up at the estate of Elizabeth.
 
Arnie then asked, Did Mr. Darcy really reform or not? Did he trick Elizabeth into marrying him? What if Mr. Darcy constructed a fake reality for Elizabeth? Arnie says that it’s possible that Mr. Darcy used his resources to make Elizabeth think that he likes her when he really has his sights on another.
 
What is also interesting is that all the male characters who are interested in Elizabeth are connected to each other off stage but show up on stage and converge on Elizabeth at the same time. Maybe Mr. Darcy and Bingley are actually attracted to each other!
 
Arnie noted that Agatha Christie knew the works of Jane Austen well. Miss Marple is called Aunt Jane who lived in a small village just like Jane Austen. What a coincidence!
 
Arnie says that there are really shadow stories to the works of Jane Austen—stories that are beneath the main story. Jane Austen cleverly wrote two different stories at once with two messages for each of her books. The deeper message underneath the main story expands the flexibility of our minds. It’s up to the reader to figure it out. She trains us to doubt our first impressions which was the original title of Pride and Prejudice.
 
When Arnie looked further, he saw glimmers of other writers messing around with shadow stories, too, such as Henry James and Shakespeare. Therefore, Jane Austen followed in the tradition of great writers. For example, The Vindication of the Rights of Women by Mary Wollenstonecraft is really a rallying cry for women.
 
Also, Wuthering Heights by Emily Bronte is full of shadow stories too. Her sister, Charlotte Bronte became famous due to her novel, Jane Eyre which also contains shadow stories. Interestingly, she is credited with hating Jane Austen and thought that there’s no passion to Jane Austen’s writings. Interestingly, Charlotte Bronte corresponded with Henry Lewes, a Janeite who loved Jane Austen’s writings and who recommended that she read Jane Austen. It turns out that Charlotte was really interested in Jane Austen and the darker themes meaning Jane Austen’s shadowed stories. As a result, the subtext of Emma permeates Jane Eyre.  
 
Even Mark Twain read Jane Austen although he didn’t want to acknowledge that he admired her.
 
Arnie further noted that all the great authors borrowed endlessly from one another. The writings of Henry James is filled with allusions to both Jane Austen and Shakespeare. Jane Austen herself inserted metaphors and similes from Shakespeare and other phrases of his into Emma. The borrowing of great literature continues today. Even the movie, Clueless is based on Emma.
 
The character, Emma is manipulated by other characters and doesn’t know it. Sixty years before Jane Austen wrote Emma, Samuel Richardson wrote Pamela in 1749. Henry Fielding wrote Tom Jones and also Shamala (a parody of Richardson’s Pamela). In fact, Arnie believes that Richardson was up to something and deliberately incorporated a shadow story into Pamela.  
 
What if Harriet Smith in Emma is actually a Shamala? Harriet thinks that Emma is her plaything. Emma tries to match Harriet with others. Later Emma realizes that Harriet really has her eye on Mr. Knightly, not Mr. Churchill.
 
There’s also echoes of usurpation in Emma similar to that of Richard II by Shakespeare in which Henry usurps Richard’s throne. In Emma, Harriet usurps Emma. Harriet does this on purpose when she uses a different voice. She no longer speaks using “Yes, Miss Woodhouse.” 
 
Next, Arnie discussed Jane Austen’s family toward her legacy. Apparently. Her nephew airbrushed Jane out of revenge because his mother didn’t get along with her mother. What survived is Jane Austen’s handwriting in Juenlia—stories she wrote when she was a teenager.
 
Jane Austen’s letters shows sexual innuendos, however, it is up to the reader to see what they’re ready to see. The word, "confinement," is actually a pun. Women entered into final confinement during childbirth with some never surviving!
 
In closing, Arnie recommended reading Pride and Prejudice. Be sure to look for the shadow stories in Jane Austen’s works. If you haven’t read Pride and Prejudice,. Read it for fun and see what happens. Be sure to visit his blog, Sharp Elves Society for more on his shadow theory.

January 2019 Meeting Recap:
Mothers in Jane Austen’s Novels
Discussion Leaders: Dula Baker and Stephanie Fleming
Hostesses: Joanne Graham and Sylvia Foster
By Vonnie Alto, Secretary
 
Once again our January meeting took place at the majestic Hillsboro Public Library. Joanne Graham and Sylvia Foster graciously hosted the event. There, we dined on a delicious buffet spread of savory cranberry cheese pull-apart bread; scones with clotted cream and preserves; and cute Santa Hats of brownies and walnuts topped with strawberries. We also had fresh mandarin oranges, watermelon, cantaloupe, honeydew melon, grapes, and blackberries; a variety of crackers and cheeses;  an assortment of cookies; meat wraps; olives; ambrosia fruit cocktail salad; fingertip sandwiches of cucumber or egg; and a vegetable platter of carrots, green beans, broccoli, tomatoes, and salary. Ferrero Rocher Fine Hazelnut chocolate completed our buffet. 
 
On a separate table, we placed our collection of teapots and cozies with teacups, including an assortment of tea: Oolong White Peach, English Breakfast, Jasmin Silver Tip, Cranberry Blood Orange, Blackberry Sage, St Crispin Day, and Breakfast in Paris with cream, sugar, and honey.
 
Long time members, Dula Baker and her daughter, Stephanie Fleming led a lively and thought provoking discussion on Mothers in Jane Austen’s novels where they gave extensive forethought and insight on nearly every conceivable subject on motherhood, complete with references to conduct advice books of the period.  They also distributed informative handouts to accompany their discussion. See PDF versions of their handouts below.

Pictures of Jane Austen were passed around along with the article, “Are We Ready for New Diretcions? Jane Austen’s The History of England & Cassandra’s Portraits” by Annette Upfal and Christine Alexander. We learned that science looked at Jane Austen’s portraits and her sister, Cassandra’s pictures and found startling resemblances. Dula looked into the depth of how Jane Austen developed her characters and personalities and noted that Jane was a phenomenal observer of human character, including herself.
 
Dula and Stephanie then asked the group the following question: Since none of the mothers seems to be adequate, what is Jane Austen telling us about mothers? And about herself?
We learned that we don’t know what Jane’s relationship was like with her mother. Maybe Jane’s childhood wasn’t as happy as we thought. We know that Jane’s mother was in poor health and that Jane took on a lot of the responsibilities from her mother and that her father supported her extensive reading/writing. However, we don’t know if her mother did. Most of what we know is from her nephew, James Edward Austen-Leigh’s A Memoir of Jane Austen. He had limited knowledge and he glorified their lives. The letters shows that Jane has a lack of empathy for her mother and that there’s also an emotional distance between the two. In one of the letters, Jane writes, “I supposed my mother will like to have me write to her. I shall try at least.”  Obviously, Jane didn’t want to write to her mother although Jane was a letter writer. This begs the question: Why didn’t Jane want to write to her mother? Scholars have questioned Jane’s early years. Maybe the early years were more stressful than we know because of how Jane has written about mothers in her novels.
 
 The mother-daughter duo then asked, What Were Mothers Like During the Regency Era? What were the expectations/norms at the time? What were their roles?
Dula and Stephanie noted that the mistress of an estate is similar to a manager of a small hotel/CEO and thus responsible for the finances, for hiring staff, for charitable contributions, she assisted their husband in the overall estate business, and managed all food/supplies for the home. What was raised/grown in the summer was preserved for the offseason. Mrs.Rundell’s Domestic Cookery was considered a period conduct guide on how to manage finances and estates.
 
The mistress of an estate also supervised the domestic servants. Often, the servants were in short term situations and thus had a high turnover. The mistress of an estate saw to the servants needs (i.e. clothing, medical, education).
 
She also hosted dinners, gatherings, and provided local entertainment. She provided advice to the sick (especially when there weren’t doctors available).She visited the poor, gave advice to them, and listened to their complaints.
 
Of course, the mistress of an estate was expected to bear children. She was responsible for the education of her children, whether or not she hired it out. She was also responsible for her children’s moral education. The daughters had to have accomplishments to marry well. Female formal accomplishments included: singing, playing an instrument, dancing, speaking French (possibly Italian), drawing,  painting, sewing, decorative needlework, elegant penmanship, mathematics to manage household ledgers, and the ability to conduct polite education that revealed suitable knowledge of history, literature, and poetry.
 
Next, the mother-daughter duo asked, What Were Thoughts About Motherhood and which influences us today?
We learned that the Romantic Era of the late 1700’s – 1800’s was influenced by the Enlightenment, the individual, and the philosophy that children were born good and can be molded. The philosopher, John Locke said that nurture, not nature makes a difference. Therefore, the Enlightenment philosophers thought that children had the ability to reason. There was an emphasis on educating children because they would be the future citizens of society.
 
Writers in the period engaged in public debates about motherhood. The philosophy of discipline had a forgiving attitude for good behavior while bad parenting resulted in bad children. It was thought that parents are responsible for the behavior of their children.
 
Women possessed a biological power because they could bear children. Bearing children was women’s foundational contribution to society and also the threat to the social order. During this time, scientific research was intense. A high infant mortality rate existed since many mothers died in childbirth. Breastfeeding debates became political. If a marriage broke down (usually from domestic violence), men obtained custody of the children according to the 1839 Infant Act. A mother could petition the courts for her children under 7 years of age and get visits for children over the age of 7.  However, there was also a rise of infanticide. If a woman was an overly sympathetic mother and in severe poverty, she could become murderous and commit infanticide to protect her child from misery. 
 
Dula and Stephanie also discussed motherhood in Romantic Literature: We learned that there were an abundance of instruction books, essays, and opinion pieces published during this time.  Motherhood conduct novels portrayed the dangerously good mother who risked making her children selfish with excessive maternal love. The naturally bad mother operated from her overly emotional constitution. Mary Wollenstonecraft wrote that some mothers didn’t enjoy motherhood and were neglectful. Such a mother lacked the ability to control her own feelings/desires so that she neglected or harmed her children. As an example, Mary Musgrove in Persuasion was a neglectful mother.
 
If women didn’t get the education they deserved, they became bad mothers. Arnie Perlstein noted and Stephanie agreed that Mary Wollenstonecraft was all about women strengthening their minds so as to lead independent lives with meaning. Mothers supervised a child’s diet/exercise and encouraged their development. Conduct book examples of the period include: An Inquiry into Duties of the Female Sex (1786, read in 1805) by Thomas Gisborn. Also, John Newberry wrote a children’s book with instructions to children. Mary Wollenstonecraft recommended serious reading. Most of Jane Austen’s characters read and Jane herself got her education from reading.
 
Furthermore, women were victims of injustice because the laws were against them. The grief of the mother could harm the fetus. Therefore, it was recommended to have power over your emotions at all time. But, how would a mother have time to read these books? Dula noted that with all the many duties that a mother had, she probably wouldn’t have time to read these conduct books or many of them.
 
Next Dula and Stephanie discussed breastfeeding and midwifery.
A wet nurse was dangerous. The virtues of breastfeeding were extoled. So long as a mother could breastfeed, she could postpone having children. Therefore, this was a natural form of birth control.
 
A lively discussion followed where the membership contributed their own thoughts to the subject of motherhood during the Romantic Era:

• Stephanie Vardavas said that boarding schools affected a child’s upbringing. The boy children had too soft of an upbringing if they went to Eaton vs a rough upbringing at Gorsten boarding schools.
• Lisa Perrine noted that women had no legal rights. Women were pregnant all the time and therefore at risk of death through childbirth. Women lived hard lives with not much medical care or good doctors or many doctors. Jane Austen’s writings provides a window into a woman’s life during the Romantic Era. Girls were not given any education. They had to educate themselves or get into books like Jane Austen. Jane Austen didn’t want to get married but instead write.
• Arnie Perlstein offered his shadow theory on the subject. Arnie asserted that Mrs. Tilney is the symbol of the dead mother. She died in childbirth, not of a fever (a shadow story revealed). In fact, there’s 20 references in Jane Austen’s letters where a woman is pregnant again. Was there such a thing as separate beds? This tells us what Jane Austen thought about pregnancy, birth control, and motherhood. It was a dangerous life for women.
• Joann Graham noted that Jane Austen’s sister-in-law, Fanny (Charles wife) died at the age of 25 with her baby. She had 3 daughters. Later, Charles married her sister and had more children. Queen Victoria was taught needlepoint and played the piano because she was going to get married and have children.

 
Then Dula and Stephanie turned the discussion to Jane Austen’s novels beginning with motherhood in Northanger Abbey:

• Dula said that Mrs. Morland (mother of Catherine) was pregnant all the time and nursing. However, she was able to teach French or Italian to her kids. How did her type of mothering influence Catherine?
• Pauline Beard answered that she was a negligent mother which gave Catherine independence. Therefore, Catherine is willing to take on new thoughts and adventures.
• Our Region Coordinator, Margaret Christmann’s impression was that the mother was involved with the youngest children until they grew older. Former Region Coordinator, Kim Higgins said that Mrs. Moreland was a fantastic mom because Catherine was well behaved. As Catherine grew older, she took on a mother role.
• Both Marcia Hamley and Stephanie Fleming agreed that Catherine had to find her way home by herself after being told to leave the Tilney’s estate. She did it without being scared. She was independent because of her upbringing.
• Marcia Hamley added that because Catherine had to shift for herself, she was able to do so.
• Dula/Stephanie said that Catherine read novels. She’s also very trusting of John Thorpe, but not the 2nd time because she learned from her mistake. She’s thoughtful, learns a lot and thrives. The Gothic novel is a metaphor for female existence. Catherine needs experience to realize that not everyone has been raised with her high morality.

 
Next motherhood in Mansfield Park was discussed:

• Dula said that the 3 Ward sisters in Mansfield Park are role models for Fanny at the age of 10 who has left home.       
• Pauline Beard added that it’s nature vs nuture in Mansfield Park. Pauline said that the term has been in use since Elizabethan times but research areas began using it in the 19th century. Why are Fanny and William and Susan such good people when the home life is so squalid? Nature (genetics) would suggest that the parents are good (or were) before life let them down. Fanny is lifted out from the home (nurture or lack of it) when she is 10. William leaves for the navy at about age 14 (this is conjecture because there is no mention of his age). Therefore, one could argue that nature determines their lives. Susan remains but is a good child (Nature versus nurture) when Fanny returns and then Susan is also lifted out (and up!) to Mansfield Park. Maria and Julia are neglected by their parents and spoiled by their aunt (nurture). At the end of the novel, Sir Bertram admits that their education should have been better and he should have taken more care of them. 
• Margaret Harshbarger said that William and Fanny had good parenting.

 
We also had an interesting discussion on children's ages:

• Margaret Harshbarger asked, “How long in this era are you considered a child? 12 or 13 years old?” Stephanie Fleming said that the idea of children and play takes shape in this period. Margaret Harshbarger responded by saying that the idea of a child is determined by the social class. Former Region Coordinator, Bill Boyd said that children raised in horrendous circumstances come out OK.

 
Next, our group turned our thoughts to a discussion of motherhood in Pride & Prejudice:

• Stephanie asked: Why were Jane and her sister, Elizabeth so different? Jane was born the first and got a lot of positive attention from her parent. Elizabeth was beautiful too. Mrs. Bennett becomes more fretful and inattentive as more children arrived, she worried because she wanted to have a boy. By the time Lydia arrives, Mrs. Bennett is off the chart worried because now they have to find husbands for all their daughters.
• Marna Tisdel said that for the Bennetts to have 5 daughters and no sons, the girls need to marry and marry well.
• Stephanie Fleming noted that Jane and Elizabeth act as mothers to each other with Elizabeth as reason.
• Mary Benson said that she herself comes from a large family with 5 brothers. The oldest children are authority figures and do what mother and father want. With a huge family of 8-10 children, parents don’t have time to parent everyone.
• Lauren Bruss asked, “At what point is it the failing/duty of the older sister to mother younger sisters? Therefore, Lydia should have been mothered.
• Kim Higgins offered that Mrs. Bennett gave up mothering by the time Lydia was born since Lydia is like Mrs. Bennett. 
• Pauline Beard said that it’s “the luck of the son” which is crucial to keeping an estate. “The luck of being the first son gave a man the benefit of primogeniture: inheriting the land and property of the father...no occupation...but the second son would go to the military and the third to the church...Tom in Mansfield Park thus inherits everything...no occupation and spoiled he is a wastrel. The living that should have been Edmund's is leased to help pay Tom's debts.”
• Arnie Perlstein asked, “Who puts in a good word for Mary in Pride and Prejudice?” Elizabeth believes that Mary is stuck and an imbecile. Actually, Mary is smart. Be careful. There’s a loss of virtue here. Mary embodies a narrow subject view but actually is much more sympathetic.
• Arnie has argued since 2010 that Mary Bennet in the shadow story of Pride and Prejudice is actually a combination of Mary Wollstonecraft and Jane Austen, and she only seems like a pedant and fool because Elizabeth thinks Mary is that. Actually, the real fool is Elizabeth because Mary tries to warn Eliza against Darcy. For more information, search his blog, Sharp Elves Society for several posts about Mary Bennet. Arnie noted, “Like Jane Austen, Mary Bennett will be there in the library with Jane Austen’s father and Jane with the books.”
• Arnie further noted that Collen McCullough wrote a sequel novel of Pride and Prejudicefrom the point of view of Mary Bennet titled, The Independence of Mary Bennett. Another member acknowledged that Mary is a bluestocking which means a feminist.
• Arnie pointed out that Mrs. Bennett is only 40 years old, and maybe still fertile. She’s not wanting children since she acts nervous so that maybe her husband will leave her alone. Another form of natural birth control.
• Dula said that there’s an empty headedness of some mothers. What is Jane Austen saying about that?
• Frank McClanahan said that many mothers are absent or not there in Jane Austen’s novels. Therefore, it’s much more interesting for a writer to write of characters without a mother there. It’s a scary growth experience for Catherine Moreland when she’s on her own in Northanger Abbey.

 
Next, a discussion followed on motherhood in Sense And Sensibility:

• Pauline Beard asserted that in Jane Austen’s there’s no discipline of children and that the children are noisy. They destroy conversation. In one of Jane’s letters, Jane writes of visiting children being very noisy and thinks they should be thumped to keep them disciplined.
• Pauline also said that the more smothering you do, the more you are a bad mother. Lady Middleton in Sense And Sensibility is the worst mother in literature.
• Marcia Hamley noted that Lady Middleton’s daughter is named Anna Marie which is a foreshadowing of Mary Ann.
• Lisa Perrine said that Marianne, her mother, and Mrs. Dashwood are replicas of each other. Both fall in love with Willoughby. Marianne wears her heart on her sleeve. Willoughby jilts her for another and she is never the same again.
• Stephanie Fleming said that the mother, Mrs. Dashwood, experienced a growth journey and realized she didn’t have the emotional continuum of Jane on the Brain by Wendy Jones.
• Pauline Beard says that young men have power over women. Willoughby marries for money and feels regret how he treated Marianne but still married for money.

 
Finally, Dula and Stephanie asked, What were the messages on motherhood from Jane Austen:

• Dula wondered about the way men try to put women under the control of the government.
• Marcia Hamley noted that the era was patriarchal and that the issue of men taking over women’s bodies comes from a lack of respect and men wanting to have power.
• Stephanie Fleming asked: Is Jane trying to educate her people to take back her power? Arnie Perlstein answered, “Yes. Educate women to take their power from men who hold all the cards. In Jane Austen’s shadow stories, there are always women who appear weak and powerless but who actually use their wits to get others, especially the rich and the powerful, to do what they want.”
• Guest visitor, Shelby West of the Portland Meetup, The Jane Austen Book Club, commented that there’s beautiful images of what fathers and mothers did right and wrong in Jane Austen’s novels.
• Then Kim Higgins offered the final comments. Kim said that she had thought about the mothering of the governesses and the balance of power. Governesses usually are below in society but yet mothered children who will have more power than the governess. Also, kids have an emotional connection to their governess. Stephanie Fleming added that conduct novels reveals that it’s important to pay attention to the emotional connections of your children and who they spend time with. Kim said that the character, Emma went unchecked because Miss Taylor (the governess) was mothering others in society.

 
Thank you, Dula Baker and Stephanie Fleming for researching and leading an insightful discussion on Mothers in Jane Austen’s Novels!