Describe what you think about my work. Be polite but I have the utmost respect for constructive criticism.
Thanks again,
J.A.
Friday, April 15, 2011
Wednesday, March 23, 2011
Artifact #10
· Austen, J. (2008, August 24). Love and freindship. Retrieved from http://www.gutenberg.org/files/1212/1212-h/1212-h.htm
· The Republic of Pemberley. (2004-2010). Love and freindship. Retrieved from http://www.pemberley.com/janeinfo/lovfrend.html
Artifact #9
Lady Susan was not published my lifetime (but my relation James Edward Austen-Leigh would publish it posthumously in 1871 in his book Memoir). A form of my epistolary novel is considered part of juvenilia. I worked with this piece around 1805 and it remained in my possesion then on.
· Austen, J. (2008, July 27). Lady susan. Retrieved from http://www.gutenberg.org/files/946/946-h/946-h.htm
- "Lady Susan." shelfari. Web. 25 Mar 2011. <http://www.shelfari.com/books/9032890/Lady-Susan/tags>.
Artifact #8
Mansfield Park was published in 1814, becoming my third published work of literature. It did not, however, live up to “the Pride and Prejudice expectations.” Shall I be confined to the public's ideals for the rest of my meager career?
- Project Gutenberg EBook , . (2010, January 22). Lady susan. Retrieved from http://www.gutenberg.org/files/141/141-h/141-h.htm
Artifact #7
Tom Lefroy is the infamous lover of my youth. We met in 1796 as he was visiting some family close by. After some brief public flirtation, Lefroy returned to London to continue his law studies. Our association is a most popular discussion involving male attractions, though he was not my only prospect I can assure you. This disappointing love affair would signify the rest of my love life. Never was I to marry, but a spinster with my sister would I remain.
Artifact #6
My dearest sister Cassandra, of which I was sincerely fond of, did this watercolor of myself at our dining parlor table. While I majored in writing, Cassandra seemed to take a fancy in art. This study is one of the few visual images public has to get an idea of what I might have looked like. I was not prose to portraits and if so they were not kept in qualitative condition for future reference. Forgive my heedless ideals of setting my concerns elsewhere such as that of my literature!
· "Jane Austen Cassandra's portrait." fankncas.jpg. Web. 15 Mar 2011. <pemberley.com>.
Artifact #5
Society of the time in which my life has occupied has communicated best through letters. My own exchange between others has been documented, as seen above and from the link attached, although I am not particularly fond of the invasion of privacy. My correspondence with others, especially that of my beloved sister Cassandra, illustrates not only much that occurred in my humble average life, but the enlightenment of that of my era.
- Woesndag. (2010, April 14). Tom Lefroy. Retrieved from http://kleurrijkjaneausten.blogspot.com/2010/04/tell-mary-that-i-make-over-mr.html
- The Republic of Pemberley. (2004-2010). Letters of jane austen -- brabourne edition. Retrieved from http://www.pemberley.com/janeinfo/brablets.html
Artifact #4
“TO HIS ROYAL HIGHNESS THE PRINCE REGENT, THIS WORK IS, BY HIS ROYAL HIGHNESS'S PERMISSION, MOST REPECTFULLY DEDICATED, BY HIS ROYAL HIGHNESS'S DUTIFUL AND OBEDIENT HUMBLE SERVANT, THE AUTHOR.”
My fourth novel Emma followed the less popular Mansfield Park, holding this dedication to his royal majesty of the time Prince of Wales. What sharp sense of wit and intelligence was used to create the ever demanded dedication in a sense of mockery that brought my only means of self-respect.
Artifact #3
“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
This famous quote is the first sentence of my second published novel, Pride and Prejudice. The phrase has since then been a popular profession often paraphrased for different purposes but upholding the same concept. It was originally called First Impressions and became my most popular novel when published in 1813. My still anonymously written literature was claimed to be a fashionable book of the time, in droll irony that I, a country lady yet of fine edicate, am flippant to fashion!
· Austen, J. (2008, August 26). Pride and prejudice. Retrieved from http://www.gutenberg.org/files/1342/1342-h/1342-h.htm
Artifact #2
Sense and Sensibility was my first published novel in 1811. Originally Elinor and Marianne, this novel is my only work with two heroines and was originally formatted as letters. I kept my work annonymous, only referred to as “A Lady”. Though in the beginning few knew who the author of my novels truly were, the secret eventually fell short and my identity to some revealed. Still, I kept my signitaure unwavering.
· Austen, J. (2008, May 25). Sense and sensibility. Retrieved from http://www.gutenberg.org/files/161/161-h/161-h.htm
· senseandsensibilitytitlepage.jpg. [Web]. Retrieved from janeausteninvermont.wordpress.com
Artifact #1
The Chawton Cottage in Hampshire, England is my final and most famous home where I wrote and published many of my works. I moved to the house around 1809 and live here for the rest of my days. Along with the video tour inside my house, the two photos above are the outside view and a side of my garden of which I was very fond of.
- Franz, L. (2011). Chawton cottage. Retrieved from http://www.lindafranz.com/galleries/jane-austen-chawton/1
- Fallon, J. (2008, December 1). No more human ashes in jane austen's garden. Retrieved from http://www.estatevaults.com/lm/archives/2008/12/01/no_more_human_a.html
- Youtube. (2011, March 19). Jane Austen-the house-the drawing room. Retrieved from http://www.youtube.com/watch?v=E0_Kgy2Ea3w&feature=related
Tuesday, March 22, 2011
Interview with Jane Austen
1. In your early life, what generated your interest in the arts?
Even after thus going to two different boarding schools as an adolescent, my greatest educational advance and artistic influence came from homeschooling in my father’s library. (Hannon, 2007). Reading and writing had been an essential trait for us Austen’s. We had the habit of using high-quality quarto notebooks to make manuscripts we shared regularly with the family. My father encouraged my writing the most. Discussions of novels, sharing our literary interests, and such pastimes my father and I executed. He even provided me the luxury a portable writing desk. I loved my father; bless his soul (Harman, 2009).
It was centrally my father and his library that brought about my interest in writing. I surrounded myself with brilliant authors in my father’s library from an early age. I eagerly discussed, rewrote, and even jeered some work! What an arrogant child you’d presume I was, but pride was a valuable trait my family acquired. Within the confinements of our book apartment, they bequeathed their knowledge, language, insight, and imagery to me (Hannon, 2007).
It was in my early life that I wrote my Juvenilia. At age 19 I finished the novella Lady Susan. It was formed as an epistolary, or series of letters, a method I practiced quite frequently (Jane Society of North America, 2011). Other comic stories incorporated Love and Freindship; I spelled it as such. Variations of words were accepted at this time. I also wrote The Beautiful Cassandra, and the History of England. My youthful writing was supercilious differing from my more proper and elegant novel voice. It was typically nonsensical and often referred to as “mad, vivacious, or violent” (Hannon, 2007).
2. Who were your role models as an artist that inspired and motivated you?
My father, as I’ve so proudly mentioned before, influenced me to keep writing as I became older. His library consisted of such pleasures as history, poetry, and romantic novels. The authors of my favorite love stories included Maria Edgeworth, Ann Radcliffe, Elizabeth Incbald, and many others (Harman, 2009). My six brothers and sister, Cassandra, were used as models in my stories, though I never replicated anyone’s identity or based my characters off of any person. Family life in general stimulated many traits and objectives in my novels. I inherited some of my wit from my mother and her uncle Theophilus Leigh, whom both had a clever sense of humor. Surrounded by clergymen in nearly every aspect of life, oh the irony, was another influence for my stories (Hannon, 2007).
I also was an admirer of Samuel Richardson, especially his novel Sir Charles Grandison, a story switching focuses from the original Harriet Bryon to her hero Sir Charles Grandison (Hannon 2007). The novel thereafter becomes centralized on Grandison’s history and lifetime (Wikipedia, 2010). His style of formatting his novels as letters, similar to Fanny Burney’s technique, was most intriguing and I took up the approach as I drafted my novels. I also read Henry Fielding, Lawrence Sterne, Charlotte Smith, Charlotte Lenox, Hannah Cowley, and of course Shakespeare. Shakespeare was an essential read whom everyone was familiar with. Though I did not write poetry, on occasion it was basic. I was enthralled by William Cowper’s “meditative take on the beauty of nature”, George Crabbe, and Sir Walter Scott’s romantic poems (Hannon, 2007).
Samuel Johnson was one of my favorite prose writers. He was deaf in the left ear, had imperfect vision by being almost blind in the left eye, and had a disfigured face. Yet this shocking physical disability did not affect how superb a writer he became. Johnson’s poem and work for the London publisher Edward Cave was an instant success. He and his wife settled in London as he wrote the demanded articles for the Gentleman's Magazine and other publications. However, the fact being satirical, his 368-line poem he wrote called The Vanity of Human Wishes was Johnson’s first publication under his own name. Johnson continued writing prose essays for a periodical called Rambler, in which as a moralist he discussed and is famously quoted from. Some of his work comprises the Dictionary of the English Language; supervising the Literary Magazine; the History of Rasselas, Prince of Abyssinia; and the list continues. His fraught effort in life and yet accomplished work I hold with the utmost respect (Kiefer, 2011).
3. What was the world of your art field like during your time?
Britain was a world power experiencing new ways of thinking about people and nature. Literature adapted to these changes as writers began to see new worlds through discoveries and possibilities. Writers found new science inspiring due to these new possibilities in fact and fiction. My times saw the Napoleonic Wars and economic instability, of which I myself knew greatly of (Baker, 2008). These adaptations creating cultural boundaries were the setting and stages in which my "children", my characters, had their stories unfolded. During this period, George III had his final début as the King of France. His egotistical son, whom gave me the “honour” of dedicating Emma to, took the throne soon thereafter. But pertaining to your question, I lived in an era where the people defined one’s self in terms of their social class and wealth. It can be assumed that everything came back to society and how others saw one another, always thinking nothing but a person’s reputation and status. There were guidelines of behavior and conduct, and it was in a person’s best interest to follow these codes. I myself was well educated and privileged to be in the middle of the social scale. However, as a humanist, I thought little of those who believed that people’s character was defined from their social placement (Austen, 2010).
As briefly brought up, I admired Samuel Richardson’s Sir Charles Grandison. Shakespeare was still in the read, his wonderful theatre and literature contribution greatly appreciated nationally (Hannon, 2007). I also spent pastimes reading 18th century philosophers, moralists, and poets (Baker, 2008). Alexander Pope was a poet, essayist, critic, translator, and satirist who was popular with his heroic couplet (About.com, 2011). Samuel Richardson in his early life was a well-known printer, and in his older years he was a novelist (Columbia Encyclopedia, 2011). Samuel Johnson was a quoted English writer of essays, poetry, biographies, novellas, and a dictionary (Kiefer, 2011). Henry Fielding was a writer, playwright, journalist, and dramatist (Liukkonen, 2008). Olaudah Equiano was an African brought to London and after buying his freedom, wrote his autobiography (Equiano Foundation, 2011).
4. How did the major cultural, economic, and political situations of the time impact your work?
As I’ve so proudly professed, most of my life has been located in the countryside. My father was a clergyman and I was raised around a boys’ school with six brothers. Compared to an urban environment, there is a limited circle of acquaintance in the rural atmosphere. For example, my niece Anna married Ben Lefroy, son of Mrs. Lefroy, a friend of mine, and cousin to Tom Lefroy, my early-life infatuation. Money, family interest, and certain influences promoted or forbade marriages, in the circumstance of the same Tom Lefroy and myself, which followed this concept. I never married in light of the subject. Men and women often picked spouses for their good looks, women in particular their youthful spirits, and income. I condone this conduct and illustrate the forlorn results of marrying someone for these reasons in my novels, putting forth that spouses should bring the best out of a person.
Money was often a strong influence. My fellow women and I face nothing but bad options when it comes to figuring out how to provide for ourselves. After my father passed, my mother, sister, friend Miss Lloyd, and I became completely dependent on the men of our family because we could not provide for ourselves. It isn’t uncommon for distant or unrelated family to claim residence within the same household, which reasoned how Miss Lloyd came to live with us. For the majority of my life I had no money of my own. Keep in mind I was a poor country girl, the daughter of a clergyman, and living in a period where we had to married our way into having money. But obviously I never married, so my novels were my only means of profit! I live in a decent home with the necessities of life and luxury of a piano and servant. The money from my writing, however, is my singular source of independence (Hannon, 2007). In fact, unlike many female writers of this time, I have no struggle for authorization to write and feel free to carry out such literary fancies (Harman, 2009).
I am ever too fond of dancing. When news of a ball comes it is the happiest notion for me, I tell you! Formal dances are most popular, and informal evenings with the family are just as entertaining. My novels, including Pride and Prejudice, often include instances of dancing and balls. When it comes to fashion, bluntly stating my opinion, I hold little interest. Foolishness and fashion often comes as a companionable pair in my novels. Though bias or hypocritical, “beautiful faces often hide deeply flawed characters” (Hannon, 2007).
I chose to be anonymous, and if thought that I’d not “reap the benefits”, I beg to differ! I had few reviews, majorly positive. Amusingly, book reviews especially by other authors influenced the public’s opinion on my literature. To my impassive relief, the public approved for the most part. Royals were quite impressed; in one instance Prince Regent asked that I dedicate one of my novels to him! My books were also discussed at high social gatherings from my knowledge. I did not associate with other novelists publicly, my being anonymous a contributing factor to this. Pride and Prejudice became a “fashionable” novel of society, oh, the irony of it! Communication was limited to letters, a format I began as drafting some of my novels. Like many other authors, I on occasion had poor spelling. Spelling is not completely standardized, however, and people except variations such as “chuse” for chose”. Religion is also a community-shared acceptance, but I tended to keep this distraction from my goal of a romantic story (Hannon 2007).
5. You became one of the classic authors of your time. Would you care to shed some light on your major accomplishments and methods of creating such impactful pieces of literature?
I published anonymously because women do not seek to draw public attention to themselves. I’d rather sit and watch from such close proximity as the world reads and discusses my novels (Hannon, 2007). I didn’t keep my secret from my close family; they, of course, knew indeed who wrote those unauthorized novels (Harman, 2009). My novels include Sense and Sensibility, which was originally Elinor and Marianne; Pride and Prejudice, which was originally First Impressions; Mansfield Park, originally Susan and written within a closed span of time instead of editing prior drafts; and my last novel, of course, Emma. My work shall not end there hopefully, though. An interesting note about Sense and Sensibility besides its first name is it is my only novel with two heroines and was originally formatted as letters like Samuel Richardson’s style, and then became its final third person narrative.
My characters were comfortable and concerned with matters of little consequence compared to what would seem more vital. Part of this was in sequence to my work relating to the higher social class because they had what time and freedom people preoccupied with survival did not encompass (Austen, 2010). Before my main characters could attain what they most wanted, they had to open their eyes to see clearly themselves and their surroundings. My characters learned romance as they matured no different from me. When I was younger, I actually mocked the idea of love, but as I aged, I believe my latter novel Emma became the most romantic novel I’d accomplished! I instructed my characters well and taught them to never commit to another in the absence of love. For my “children”, they got their happy endings. I cannot say I’m jealous because I am happy for them and this fills me with content. My characters do not prototype any person “living or dead”. I confess to use certain characteristics and traits, but only for the benefit of my heroine and not to take an individual’s identity. I am devoted to my siblings as they are to me. I say this in full intent that to some degrees I captured the tenderness and irritation siblings can cause in my stories.
Most women are fascinated with the obsession of understanding men. I had six brothers and was raised around a boys’ school, so you could presume I have an advantage. I am consistently surrounded by men, enabling me to “depict male behavior accurately and sympathize their feelings”. I allowed Catherine Morland of Northanger Abbey and Elizabeth Bennet of Pride and Prejudice to acquire tomboyish personalities reflecting my growing up (Hannon, 2007). Though a proper lady, I am never completely deprived of this personality in adulthood.
6. What were the vital turning points in your life and art?
I met the infamous Tom Lefroy when he was visiting his aunt and uncle before beginning his law studies in London. We fancied one another and flirted publicly. This succinct affair was defined by our lack of currency. Tom had to care for his younger siblings and was dependent on his great uncle who did not approve. Our brief and disappointing love ended there, but I would remember our infatuation perpetually. A woman by the name of Mrs. Knight adopted my brother Edward, although that might seem shallow of my parents, it t’was for the good of him and wealth he’d gain from Mrs. Knight. Now some time before, my parents had given the Steventon rectory to my eldest brother James, whom I was displeased with at the time. We took residency in Bath, an urban society unlike the country. I loathed it at first but one gets used to such situations and even learns of new culture and societies, a good advantage for writing. After my father passed in Bath, my mother, sister, friend Miss Lloyd, and I faced how and where to live. We had little money together, I had none, and finally my brothers came together to support us. We moved several more times until we came to live in Chawton Cottage, a comfortable red brick house with a lovely garden I pampered (Linda Franz, 2011). This was given by that of my brother who was taken in by Mrs. Knight: Edward Austen. Returning to rural Hampshire inspired me to write again, and I began drafting Sense and Sensibility (Hannon, 2007).
7. What personal choices led to you becoming so prosperous?
Unlike my brother who married twice, my sister and I would remain spinsters for the rest of our lives. It should be brought about that Tom Lefroy was not my only love affair. If you thought me to be that unworthy, however modest I am, I take offense to such conviction! Harris Bigg-Wither’s proposal, though no more or less a decent man, I accepted. It wasn’t until the day after I knowledgably declined, for I have my values and I would not marry without love and love him did I not. As mistress I wouldn’t have time perhaps to write novels and therefore have no legacy. I chose common sense over the romantic notion of existing on love, which so many people absurdly live by.
I published anonymously because women do not seek to draw public attention. Reverend Clarke, who commanded my dedication to the Regent in Emma, suggested I change my style of writing for a novel I presume imitating his life. I declined politely and have kept my style of writing only my own voice. I am neither Neoclassical nor Romantic but more of a twist of the two. Neoclassical, particularly the Age of Johnson lead by Johnson himself, represents a view opposing the Renaissance ideals of man being morally good and possesses the ability to spiritually and intellectually grow. Neoclassicism presents men to be imperfect and sinful. It deals with values of order, reason, control, common sense, and an intellectual outlook. Its form can consist of essays, letters, satires, parodies, or moral fables about such topics as religion, politics, economics, and philosophy (Victorian Web, 2000). Romanticism, however, takes on a lighter view. Although love is occasionally a focus, it is not limited to Romanticism. It deals with concepts of imagination, nature, symbolism and myth, emotion, and the individual. Imagination provides the importance attributed to mind and writing. It provides creativity, perceives the world, and creates worlds. Nature deals with organics, controversial to the mechanism of Neoclassicism. Romanticism is not necessarily rational but meditative and strives for boldness, freedom, and modesty through the use of common language of interpreting one’s own emotion (Melani, 2009).
I hold other things in greater esteem than money. I have the necessities of life and luxury of a piano and servant at the Chawton Cottage. I have no real money of my own, which is a setback. Money from writing gives my only means of independence. I knew what NOT to write based on others before me, such as Mary Brunton’s Self-Control. One who gives such ironic advice should put to use “self-controlled” values in writing conceptual novels (Hannon, 2007).
8. What difficulties did you come face-to-face with as you strived to be an artist?
My father in 1797 wrote to Thomas Cadell, an English publisher, about publishing at the time what was known as First Impressions. However, the publisher declined. This rejection did not stop my efforts and in fact made me pursue further. For the ten years I kept First Impressions, I worked on Elinor and Marianne which by then I changed to Sense and Sensibility. In 1811, Thomas Egerton bought Sense and Sensibility and published it. When I went to edit First Impressions and therefore change it to Pride and Prejudice, it was to be commissioned at my own expense. Like Cadell, Egerton thought the novel would not repay what I paid to see Pride and Prejudice published. But he was horribly mistaken, for it became more of a success than my first novel. And poor Mr. Cadell was no doubt displeased that such a success had slipped right through his hands (Baker, 2008).
Like many people encounter, I came across sibling rivalry and parental favoritism of my older brother James, who was also a writer. This preference of my parents did not help in knowledge that he also attained a career I would soon join him in, though my brother whom I had to love for fact him being my brother. Mansfield Park was published on commission but didn’t achieve a second edition because its original edition would not sell as wanted. People even went as far to say it didn’t live up to Pride and Prejudice expectations. The nerve of them, however modest I may be (Hannon, 2007).
In this period, George Prince of Wales was appointed Prince Regent, another superficial glamour and appalling concurrence to London’s society. Amusing to the idea, even following a distasteful letter I wrote to the Prince unbeknownst that it was I, the Prince appointed Carlton House Librarian, Reverend Clarke, to demand I dedicate my next novel, Emma, to his majesty (Jane Austen.org, 2011)! Of course, I could not decline Prince Regent, and so, in what respect I could gather for such royalty, I dedicated with sheer derision Emma to his Highness. “TO HIS ROYAL HIGHNESS THE PRINCE REGENT, THIS WORK IS, BY HIS ROYAL HIGHNESS'S PERMISSION, MOST RESPECTFULLY DEDICATED, BY HIS ROYAL HIGHNESS'S DUTIFUL AND OBEDIENT HUMBLE SERVANT, THE AUTHOR” (Hannon, 2007). It was the sense of mockery in my dedication that was my only means of content in this situation.
9. What kind of limitations did you run into as both an artist and person?
Well, I’ll speak for my field of art first. My early editions of novels had meager selling. I enjoy little success. I also have cramped living in the Chawton Cottage, what with my mother, sister, friend Martha Lloyd, and some servants. I don’t have a private study, so all my work has to be done in the general sitting room. I use small pieces of paper of which I can easily put away or conceal. The amusing door squeak alerts me of anyone approaching so I can quickly stash my work away, not out of embarrassment but for some privacy. It is important that I have some sense of seclusion like being an anonymous writer. But even that wasn’t all too secretive (Harman, 2009)
Once again, love has shown no mercy to me. I met a man in Devonshire on one of my family’s seaside excursions from Bath. I suppose you could say I fell in love once again; you must think of me susceptible and naïve to have declared love so many times. Is it unnatural for women and men to do so, though? Anyways, as if to add to the irony, he was a clergyman. We soon parted, him planning to meet me again in due course. But shortly thereafter the Devonshire clergyman died. How predictable.
After my father passed in Bath, as I’ve discussed repetitively, the women that now made up my household were faced with the problem of our placement. Our brothers came to our aid and you know the rest of this anecdote. Of course, having no money was a hinder. I was completely dependent on my family; I could not live where I wanted and plans could change if my family intended them to. That was my life, and though I became accustom to this it was not most pleasant.
10. What personal stories best show how you became a classic and memorable artist?
I’ll say again my background so if you’ve doubtfully forgotten you will not dare fail to remember again! I was born in rural Hampshire, England and grew up on the Steventon parsonage. My novels are set in the countryside and value family importance. In every essence, as so blatantly stated, I am a country girl. I have been inspired by stories focused on country rather than town society. My father was a clergyman and I had six brothers and one sister Cassandra. The idea, six brothers! That’s not to include the boys’ school my parents ran. Consistently surrounded by men, I understood men and their emotions to an extent I could replicate such things in my novels precisely. I never married, and of my romantic involvements Tom Lefroy is my infamous lover. I am a good musician; I play piano early every morning as my daily routine. I never went past that, but it definitely defined part of who I was. That and dancing.
If I do not commend dancing enough for you to understand my deep pleasure in it, then let me shout it from every hillside! I love attending formal balls from which I spoke of highly in my novels (Hannon, 2007). I have distaste though for the women who bare their shoulders and chest, their low neck-lines and high bust lining assuring that the women’s bosoms will not be able to be contained. How indecent, I thought, when frolicking before men and elders! But their patterns and colors are magnificent, nonetheless, and that to be praised then if anything. Their evening gowns are trimmed in lace and decorated in ribbons and netting (Wikipedia, 2011). The evening begins with the baroque style of flowing elegance, a sequence of choreographed dancing in which both the men and women participate. The evening cannot end though without traditional country dancing of uncultivated fun and freedom (Covent Garden Minuet Company, 2006-10)!
Some family pastimes as a youngster included theatrical performance, of which my brother James put together dramas our family performed either in the Rectory Barn or the Rectory itself in the winter. My novels became my children in an essence; I speak of them so fondly. I even amuse my family with stories of what would happen after a novel ended: who would marry who, what would happen to whom, and so forth. They didn’t just define my works of literature, though, but they became part of who I was.
Bibliography
· Hannon, P. (2007). 101 things you didn't know about Jane Austen. Avon, MA: Adams Media.
· Harman, C. (2009). Jane's fame. New York: Henry Holt and Company.
· Franz, L. (2011). Chawton cottage. Retrieved from http://www.lindafranz.com/galleries/jane-austen-chawton/1
· Kiefer, J.E. (2011). Samuel johnson, writer. Retrieved from http://justus.anglican.org/resources/bio/20.html
· Wikipedia. (2010, September 26). The history of sir charles grandison. Retrieved from http://en.wikipedia.org/wiki/The_History_of_Sir_Charles_Grandison
· JaneAusten.org, Initials. (2011). The regency period. Retrieved from http://www.janeausten.org/regency-period.asp
· The Jane Austen Society of North America, Initials. (2011). Jane austen (1775-1817) a brief biography. Retrieved from http://www.jasna.org/info/about_austen.html
· Austen, J. (2010). Pride and prejudice. London: Collins Classics.
· Baker, W. (2008). Jane austen: a literary reference to her life and work. New York, NY: Facts on File, Inc.
· Wikipedia. (2011, February 25). 1795-1820 fashion. Retrieved from http://en.wikipedia.org/wiki/1795%E2%80%931820_in_fashion
· Covent Garden Minuet Company. (2006-10). The minuet. Retrieved from http://www.minuetcompany.org/theminuet.html
· W.W. Norton and Company, . (2010-11). The restoration and the eighteenth century. Retrieved from http://www.wwnorton.com/college/english/nael/18century/topic_3/welcome.htm
· Pridmore, J. (2011, January 17). Eighteenth-century british literature. Retrieved from http://www.literaryhistory.com/18thC/18thCauthors.htm
· Victorian Web. (2000, July). Neoclassicism: an introduction. Retrieved from http://www.victorianweb.org/previctorian/nc/ncintro.html
· Melani, L. (2009, February 12). Introduction to romanticism. Retrieved from http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
· About.com. (2011). Alexander pope. Retrieved from http://classiclit.about.com/cs/profileswriters/p/aa_apope.htm
· Columbia Encyclopedia. (2011). Samuel richardson, the author of pamela. Retrieved from http://www.umich.edu/~ece/student_projects/pamela_illustrated/richardson.htm
· Liukkonen, P. (2008). Henry fielding (1707-1754). Retrieved from http://kirjasto.sci.fi/hfieldin.htm
· Equiano Foundation. (2011). Olaudah equiano. Retrieved from http://www.atomicage.com/equiano/life.html
· Harris Middle High School. (2004, October 3). Couplet. Retrieved from http://volweb.utk.edu/school/bedford/harrisms/couplet.htm
Introduction
Greetings! My name is Jane Austen. I am a 19th century writer, though some consider for deliberation, I’m to be categorized as an 18th century artist for the reason of the latter, dating my drafts. As a country girl from Hampshire, England, my quixotic fiction centralizes on the rural countryside opposing town society. Best known for my renowned novels Pride and Prejudice and Sense and Sensibility, I completed four anecdotes in my lifetime that symbolize my literary profession. Controversial to my romantic stories, my personal affairs consistently resulted in melancholy loss. Most noted and infamous of these trials is that of Tom Lefroy, no doubt in fact of its youthful reference. I humbly profess to be a talented musician, though quite minuscule this may seem, on the contrary! I begin my day with music, as it is, and in vital inclination inspires and enhances the concepts of my distinguished tales. Without such inspiration as home, family, music, and failing relationships, what story would I have to tell? Surely the droll-some rituals of the never-sleeping metropolitan is more engaging: I beg to differ with sheer mockery!
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