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she once began to publish, her works appeared in rapid succession. Sense and Sensibility was the first to appear, in 1811, and the others followed quickly after one another, for her work was at once appreciated by the public, and the great leaders of the literary world, such as Sir Walter Scott, Southey, and Coleridge, welcomed her with cordial and generous praise. One curious little adventure should be mentioned. In 1803, during her residence at Bath, she had sold the manuscript of Northanger Abbey to a Bath publisher for £10. This good man, on reconsideration, evidently thought he had made a bad bargain, and resolved to lose his ten pounds rather than risk a larger sum in printing and publishing the book. The manuscript therefore lay on his shelves for many years quite forgotten. But the time came when Sense and Sensibility, Pride and Prejudice, and Mansfield Park had placed their author in the first rank of English writers, and it occurred to Miss Austen and her family that it might be well to rescue Northanger Abbey from its unappreciative possessor. One of her brothers called on the Bath publisher and negotiated with him the re-purchase of the manuscript, giving for it the same sum which had been paid to the author about ten years earlier. The publisher was delighted to get back his £10, which he had never expected to see again, and Jane Austen's brother was delighted to get back the manuscript. Both parties to the bargain were fully satisfied; but the poor publisher's feelings would have been very different if he had known that the neglected manuscript, with which he had so joyfully parted, was by the author of the most successful novels of the day.

There is a quiet vein of fun and humorous observation running through all Miss Austen's writings. It is as visible in her private letters to her friends as in her works intended for publication. The little turns of expression are not reproduced, but the humour of the one is very similar to that of the other. Thus, for instance, in one of her letters she describes a visit to a young lady at school in London. Jane Austen had left her a raw school

girl, and found her, on this visit, developed into a fashionable young lady. "Her hair," writes Jane to Cassandra, "is done up with an elegance to do credit to any education." Who can read this without thinking of Fanny Price in Mansfield Park, and the inevitable contempt she inspired in her fashionable cousins because she did not know French and had but one sash?

Reference has already been made to the high appreciation of Miss Austen's genius which has been expressed by the highest literary authorities in her own time and in ours. Sir Walter Scott wrote in his journal: "I have read again, and for the third time, Miss Austen's very finely-written novel of Pride and Prejudice. That young lady has a talent for describing the involvements and feelings and characters of ordinary life, which is to me the most wonderful I ever met with. The big Bow-Wow strain I can do myself like any now going, but the exquisite touch which renders commonplace things and characters interesting from the truth of the descriptive and the sentiment is denied to me." Lord Macaulay, the great historian, wrote in his diary: "Read Dickens's Hard Times, and another book of Pliny's Letters. Read Northanger Abbey, worth all Dickens and Pliny put together. Yet it was the work of a girl. She was certainly not more than twenty-six. Wonderful creature!" Guizot, the French historian, was a great novel reader, and he delighted in English novels, especially those written by women. Referring to the women writers of the beginning of this century, of whom Miss Austen was the chief, he said that their works "form a school which, in the excellence and profusion of its productions, resembles the cloud of dramatic authors of the great Athenian age." The late Mr. G. H. Lewes said he would rather have written Pride and Prejudice than any of the Waverley novels. George Eliot calls Jane Austen the greatest artist that has ever written, "using the term 'artist' to signify the most perfect master over the means to her end." It is perhaps only fair to state that some good judges do not entertain

so high an opinion of her work. Madame de Staël pronounced against her, using the singularly inappropriate word "vulgar," in condemnation of her work. If there is a writer in the world free from vulgarity in its ordinary sense, it is Jane Austen; it must be supposed that Madame de Staël used the word in its French sense, i.e. "commonplace" or "ordinary," such a meaning of the word as is retained in our English expression "the vulgar tongue." Charlotte Brontë felt in Miss Austen a deficiency in poetic imagination, in the high tone of sentiment which elevates the prose of everyday life into poetry. She found her "shrewd and observant rather than sagacious and profound." Miss Austen's writings were so essentially different from the highly imaginative work of her sister author, that it is not surprising that the younger failed somewhat in appreciation of the elder writer.

Jane Austen's failing health in 1816 caused much anxiety to her family. It is characteristic of her gentle thoughtfulness for all about her that she never could be induced to use the one sofa with which the family sittingroom was provided. Her mother, who was more than seventy years old, often used the sofa, and Jane would never occupy it, even in her mother's absence, preferring to contrive for herself a sort of couch formed with two or three chairs. A little niece, puzzled that "Aunt Jane" preferred this arrangement, drew from her the explanation that if she used the sofa in her mother's absence, Mrs. Austen would probably abstain from using it as much as was good for her. Her last book, Persuasion, was finished while she was suffering very much from what proved to be her dying illness. Weak health did not in any way diminish her industry, and she exacted from herself the utmost perfection that she felt she was capable of giving to her work. The last chapters of Persuasion were cancelled and re-written because her first conclusion of the story did not satisfy her. In May 1817 she and her sister removed to Winchester in order that Jane might have skilled medical advice. Here she died on 18th July

and was buried opposite Wykeham's Chantry, in the cathedral. Her sweetness of temper and her gentle gaiety never failed her throughout a long and trying illness. When the end was near, one of those with her asked if there was anything she wanted; her reply was, "Nothing but death."

XVI

MARIA EDGEWORTH

It will be impossible, in the short limits of these pages, to give anything like a full account of the long life of Maria Edgeworth. She lived for nearly eighty-three years, from 1st January 1767 to 22d May 1849; and through her own and her father's friends she was brought into touch with nearly all the leading men and women connected with the stirring political and literary events of that period. What this implies will be best realised if we consider that her lifetime comprised the whole period of the French Revolution, the War of Independence in the United States, the long wars of England with Napoleon, the landing of the French in Ireland (her native country), the passing of the Act of Union between England and Ireland, Catholic Emancipation, the Abolition of Slavery in the British Dominions, the passing of the first Reform Bill, the Irish Famine of 1847, and the outbreak of revolutionary socialism on the Continent in 1848. These are some of the most burning of the political events of which she was a witness ; the literary and social history of the same period is hardly less remarkable. She lived in the centre of a world made brilliant by Wordsworth, Coleridge, Shelley, Byron, Burns, Keats, Scott, and Jane Austen. She knew Mrs. Fry, Wilberforce, and Sydney Smith, as representing some of the most important of the social movements of her time;

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