Mansfield Park 1983 BBC

This is a six part adaptation that is very faithful to the novel. It first aired in the UK in 1983. Check out the IMDb site.

To a modern audience familiar with the beautiful recent Austen adaptations, such as Sense and Sensibility, this seems dated and dull. And very quiet – there is no music in the background. It definitely lacks sparkle and prettiness (we need Andrew Davies involved).

Having said that, the acting is brilliant and as the screenplay follows the novel closely, it’s our only choice if we want to watch a faithful adaptation.

Here are some screen shots …

Opening Screen

Young Fanny and Edmund

Fanny Price

Miss Crawford, Edmund and Fanny

Miss Bertram and Mr Crawford

Fanny and Edmund

The Wedding!

Here are some more reviews…

From the Jane Austen Centre

http://www.janeausten.co.uk/magazine/index.ihtml?pid=104&step=4

From Screen Online

http://www.screenonline.org.uk/tv/id/1182461/index.html

 

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Lost in Austen (Everything Austen Challenge)

I’m giving up on this one. I made it to stage two, but I lack the motivation to continue.

I find the concept intriguing and I think it would be quite fun to do as a group.

If you’re extremely familiar with Pride and Prejudice then I recommend just reading the bits where you have to make decisions – Ms Webster paraphrases Pride and Prejudice, but if you’ve read the original why would you want to read a lesser version?

Next up Mansfield Park (the BBC adaptation).

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Everything Austen Challenge – Lost in Austen

I’m still here. At the moment I’m working my way through Lost in Austen by Emma Campbell Webster (and I’m up to Stage Three). I’ve also watched Mansfield Park and shall write some comments later.

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Everything Austen Challenge – Mansfield Park

Mansfield Park is my least favourite Austen novel. I’ve always secretly preferred Mary Crawford, didn’t think the theatricals was that bad and hoped that Fanny and Henry Crawford would get married. I thought the Everything Austen Challenge was a great opportunity to read it again.

It contains some fabulous Austen quotes – such as …

But there certainly are not so many men of large fortune in the world as there are pretty women to deserve them.

and

A large income is the best recipe of happiness I ever heard of

and

 Selfishness must always be forgiven, you know, because there is no hope of a cure.

What I really noticed this time was how isolated and powerless Fanny Price was – nobody, apart from Edmund, seems to think about her at all (and Mrs Norris is simply evil).

She has amazing strength of character to hold out when everyone (including Edmund) wants her to marry Henry Crawford – I’m not sure how I would go in similar circumstances.

Mary and Henry Crawford are witty and engaging, but it’s all on the surface. They are both selfish and vain thinking only of themselves. Austen seems to making a point (a bit like Mr Wickham in Pride and Prejudice) that surface appearances can be misleading. The theatricals to a modern mind don’t seem too bad, but it’s more about the intimacy generated by repeated rehearsals – just think of all of those Hollywood actors who fall in love with their co-stars.

And one final thought, did Austen provide Fanny with more strength than she herself had (when accepting and the rejecting Harris Bigg Wither’s proposal)?

I shall think highly of Mansfield Park from now on … Fanny might even be my favourite heroine.

Next up Lost in Austen by Emma Campbell Webster – look I’ve almost caught up now I just need to get Lost in Austen finished by the end of september.

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Jane’s Fame – Chapter Six – Jane Austen TM

I finished!

Chapter Six is about the Jane Austen brand.

Austen is both a popular author and a great one. As such she exists in several mutually exclusive spheres – she is all things to all men.

The middle aged, the middle class and those who consider themselves slightly above the middlebrow are Austen’s natural constituency. They (we!) love Austen – the idea as much as the books – because she comes from our own ranks and rocks no boats.

One of the main reasons for Austen’s popularity is the romance plot. In 2004 more than half of all paperbacks sold were romances. Contemporary ‘chick lit’ owes much to Austen – her heroes don’t dominate they can almost seem like ‘sensitive new aged men’. In fact, some critics (mostly men) complain that her heroes are a bit girly and recent screen adaptations have included extra manly scenes; Edward Ferrars chopping wood, Darcy fencing, etc.

Since 1995 there has been many film and television adaptations. Viewers seem happy to see multiple treatments of the same story. Changes in technology has also affected the way we watch the adaptations – we are now ‘super-familiar’ with the material.

There is a section on prequels and sequels and another section on the Internet (blogs, etc).

An appealing attribute of Austen is ‘being for us and for our time’. She is timeless – like all great artists she inhabits a sphere outside time. Harman believes Austen worked to make her novels timeless because it is so hard to update a contemporary novel – think about the delay between the writing of First Impressions and Pride and Prejudice.

Continue reading

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Jane’s Fame – Chapter Five – Divine Jane

Chapter Five – Divine Jane

In this chapter Harman discusses how Jane Austen became ‘Divine Jane’ or ‘Dear Jane’.

In the 1880s the increasing audience was more for Miss Austen than the novels. She was still, however, being read by ‘a few cultured men’ which ensured her critical success. An idea seemed to emerged that liking Austen was a sign of ‘taste and intellect’. This idea generated a literary cult around Austen.

George Saintsbury in a forward to Pride and Prejudice coined the term ‘Janeite’ …

[the fans] now had a banner under which to rally.

The cult of ‘Divine Jane’ provoked violent reactions in people; Mark Twain thought ‘her impossible’ and Ralph Waldo Emerson thought her ‘sterile in artistic invention …’.  It must be noted that Mark Twain didn’t have the most propitious meeting with Austen.

W D Howells (Mark Twain’s friend) was a one mad austenolatry machine. In his magazine roles he kept Austen forever in the public eye.

In the late 19th Century Austen’s most ardent fans were American. Henry James thought the industry around Austen created unreal and disproportionate attention (what would he think today?).

Constance and Ellen Hill created a new type of Austen research (or tourism) a trip to ‘Austen Land’.

I found it interesting to know that during the Great War Austen’s novels were recommended reading for the severely shell-shocked.

Of course there is information on Rudyard Kipling’s Janeites.

And the final section is about R W Chapman (and his wife) and how their serious study of Austen ‘was pivotal to her establishment as a classic author in the twentieth century’.

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Jane Austen – Elizabeth Jenkins

I found this book (Jane Austen – A biography by Elizabeth Jenkins) at my local second hand book store. What a fabulous find (and it was only $10.50). It’s been out of print for ages.

Oh and I’m slowly making my way through Chapter Five of Jane’s Fame.

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Jane’s Fame – Chapter Four – A Vexed Question

In this chapter Harman writes about the Austen families response to Austen’s growing popularity (as Caroline wrote to James Edward ‘this vexed question between the Austens and the public’)and the demand for more information.

  • Catherine-Anne Hubback (Frank’s daughter) wrote a novel (which was essentially a continuation of The Watsons – not that the public knew)
  • James Edward Austen Leigh wrote the memoir
  • Lord Brabourne published the letters that were in his mother’s possession (his mother was Fanny Knatchbull – Edward’s daughter).

James Edward wrote the memoir to stop the speculation and to provide more information (the family hoped enough information). The memoir, however, generated more demand, people wanted to read her earlier works that were mentioned in the memoir and to know even more details about her life.

Harman believes two distinct groups of fans emerged; those who ‘were keen to celebrate Austen’s mental distinctiveness and Artistry and those who ‘took comfort in such an artist being just like the rest of us‘.

There is also a discussion on the different portraits of Jane Austen (the sketch by Cassandra, the prettied up version of the sketch and the Rice portrait).

I found it interesting that no one person was in charge of Jane Austen (so to speak). Her papers were spread amongst her family (when Cassandra died there was 23 living nieces and nephews) with Fanny having the majority. Harman dispels to Austen myths; one about Austen refusing to have a door oiled so she could hear people coming and therefore hide her writing and the second about the ‘little bit of ivory’.

Next Chapter – The Divine Jane

I don’t think I’m going to meet the 31st July deadline, but maybe I’ll make up some time in the later months. I plan to watch Mansfied Park in December – surely that won’t take an entire month?

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Jane’s Fame – Mouldering in the Grave (Chapter 3)

Jane Austen died in July 1817 – she was 41. Her death notice in the Courier was the first public acknowledgement of her authorship. However, no mention appeared on the memorial inscription on her grave stone.

Both James and James Edward wrote poems to commemorate the occasion. Both mention how she put her domestic duties before her writing. James even seems to imply that this dutifulness was strategic – honouring a contract rather than a free choice.

At her death no one expected Austen to leave a literary legacy. Cassandra inherited everything (except two small legacies) including the manuscripts of Susan (now called Catherine) and The Elliots. Cassandra sent them to Murray to be published on commission. They were published as a four volume work with a brief biographical notice. This biographical notice received the most notice – it finally revealed who was the author of Sense and Sensibility and Pride and Prejudice and it wasn’t Augusta Paget or Elizabeth Hamilton, but an unheard of daughter of a clergyman. Henry wrote the biographical notice (which revealed her identity) because in his mind the story was over – ‘the hand that guided the pen is now mouldering in the grave’. In his notice Henry, like James, focussed on her conventional domestic skills. He also claimed that she hoarded her manuscripts for years and only after much strenuous persuasion did she agree to try to get them published.

The posthumous publication generated overviews of her body of work. Richard Whately wrote a long piece in the January 1821 edition of The Quarterly Review. He considered her to be uniquely truthful about women…

[Authoresses] seem to feel a sympathetic shudder at exposing a naked female mind […]Now from this fault Miss Austin [sic] is free. Her heroines are what one knows women must be, though one can never get them to acknowledge it.

Harman writes …

The books exposed female fallibility so brilliantly and with such sporting candour that, as men picked up on the fact that these might not simply be ‘ladies’ novels, Austen’s male readership grew enormously.

The reviewer in Blackwoods praised her truth to life and thought she was truly remarkable in going against the style of her time (which was historical and highly romantic).

Immediately after her death there was only a small number of copies of her books in circulation, but her readership grew slowly – especially once she began to influence literary style. In the 1820s there was a set of novelists (including Thomas Lister) who wrote ‘escapist novels that idealised high society life’. Thomas Lister Grandy which seem to include many Austen like touches …

from a flirtation scene like that between Henry Tilney and Catherine Morland to home theatricals involving a Crawford.

Lister, however, sold many more books that Austen ever did.

At this time, there were French, Swedish and Russian translations of her novels (although not very accurate translations). Austen might even have influenced Pushkin.  One writer she did influence was James Fenimore Cooper (who went on to write The Last of the Mohicans) whose first novel Precaution is remarkable similar to Persuasion.

By the 1820s Austen was out of print and her novels were remaindered – this meant Cassandra and Henry had to pay the costs. In1831 Murrary offered to buy the copyrights, but Cassandra turned him down. Henry, however, accepted a similar offer a year later from Richard Bentley. Murray was the better imprint and would have paid more , as Harman says ‘this was something of a collapse’. Having all six novels inprint at the same time and affordable kept Austen’s readership growing.

Next chapter – A vexed question. 

 

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Jane’s Fame – Praise and Pewter (Chapter Two)

When I set myself the task of reading two chapters a week of Jane’s Fame, I thought it would be easy. However, I have found myself at the end of a chapter without any real idea what I was reading. I haven’t been able to focus. This is in part because the book is such an easy read, but mostly because I’m just lazy. Anyway, here are my thoughts on Chapter Two.

Chapter Two is about the business of publishing and writing. James Edward Austen Leigh (in his memoir) believed Austen wasn’t distressed about her lack of early success.

I do not think that she herself was much mortified by the want of early success. She wrote for her own amusement. Money, though acceptable, was not necessary for the moderate expenses of her quite home.

She was, however, mortified she did want to make money and she wasn’t writing for her own amusement.

Tho’ I like praise as well as anybody, I like what Edward calls pewter too.

There is a prevailing idea that Austen had two creative phases separated by a period of silence (while living in Bath). Harman disagrees she just thinks there isn’t any documentation. She thinks Austen might still have been trying to get her work published and being rejected.

The move to Bath bought the family into closer contact with the book world – easier access to book sellers and printers. It was through a book seller she came into contact with Crosby who bought Susan for £10. This sale came at a good time in Austen’s life to justify her aspirations as a writer. She had just rejected Harris Bigg-Wither (a very eligible young man). However, the novel appeared. In 1809 a novel called Susan was published anonymously. Austen must have thought it was hers. Alas, like First Impressions her title was pre-empted. She wrote to Crosby to try to speed the publication. His son replied that they had never guaranteed publication and she could purchase it back for £10. This was a huge sum to Austen – her yearly allowance was £10. Of course to her brothers, Henry and Edward, this was a paltry amount, but her pride both personal and professional would not let her borrow money.

Harman also writes about the method of publication of each novel:

Sense and Sensibility by commission (Egerton paying all of the costs and receiving 10% Austen liable for all of the costs)

Pride and Prejudice she sold the copyright (for £110)

Mansfield Park by commission

She then swapped from Egerton to John Murrary (the publisher of Lord Byron).

Emma by commission.

I was fascintated to discover that Mansfield Park was the most successful finacially for Austen.

There is also information in this chapter on the reviews that appeared immediately after the novels were published. For example, about Pride and Prejudice

this performance … rises very superior to any novel we have lately meet with in the delineation of domestic scenes.

And also opinions Austen collected from family and friend. For example,

Mrs Austen thought the heroine [Fanny Price] insipid

Austen wrote The Plan of a Novel, according to hints from various quarters as a private (and satirical) response to all of the advice and opinions. Particularly from James Stanier Clarke the Prince Regent’s Librarian (who had many story ideas).

There is also a bit of information about the reworking of the resolution of the love story in Persuasion.

Next chapter: Mouldering in the Ground

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