Love and friendship

CHAPTER.II. LITERARY ANALYSE OF “ LOVE AND FRIENDSHIP ”

2.1. Main characteristics in the novel

In Jane Austen “Love and Friendship” she illustrates the gender disparity of power and rebellion. The Romantics feature prominently the ideals of rebellion and revolution. In William Wordsworth essay “Preface to Lyrical Ballads” he describes the poet “He is a man speaking to men: a man, it is true, endued with more lively sensibility, more enthusiasm and tenderness, who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind” (pg 299) However, Jane Austen uses parody and satire as a way to show the sexism behind the Romanticism particularly the sensibility novels. That the portrayals of rebellion in “Love and Friendship” were just as important as our heroines pursuit for love and friendship. “Love and Friendship” is a perfect parody of sentimental genre and shows the sexism in England at the time and how the exaggeration of the middle-upper class characters to show how ridiculous the depictions of women are fiction at the time. Jane Austen exaggerates Wordsworth’s ideas of the poet and Romanticism, when we see the potential husbands of Laura and Sophia. The husband 's display their emotions and feelings openly to each other, while the woman faint against for the openly display of emotions. Austen use of hyperbole and exaggerate makes her criticism know on how women are generally depicted as emotionally filled idiots who faint every second on the page. If you are a Jane Austen fan, you don’t just read her six novels. You read her letters, her unfinished works and her juvenilia. And you read them more than once. So it is that I have just – for my local Jane Austen group – reread Love and freindship (sic), the short epistolary novel she wrote in her 15th year. It is a fun – and illuminating – read. It’s the illuminating part that I plan to focus on here.

But first, a little about the plot. It commences with a letter in which Isabella asks her friend Laura to tell her daughter “the Misfortunes and Adventures” of her Life. “You are this day 55”, she says, and surely now safe “from the determined Perseverance of disagreeable Lovers and the cruel Persecutions of obstinate Fathers”. Laura, while rejecting that she is too old for such “unmerited” misfortunes, agrees to tell her story  to Isabella’s daughter Marianne as a “useful lesson”. What follows is a melodramatic story of sudden friendships, quick-not-always legal marriages, and wild coincidences, accompanied by much fainting and “running mad”.⁷

This doesn’t sound much like the writer described by Charlotte Bronte as “sensible and suitable” does it? And, in fact, this wildly improbable, effusive story isn’t much like her. Or is it? This is the point I’d like to explore a little in my post, because there are many seeds here of the writer Austen was becoming – of the things that were to concern her and of the style she was developing.

The thing that concerned her most was to make fun of silly or ridiculous people and ideas. The most obvious of these in Love and freindship was the late eighteenth century’s cult of sensibility, which involved the favouring of sensibility over sense, the fostering of an overactive imagination (as evidenced by the popularity of Gothic novels). But what is exaggerated and parodied in Love and freindship become more considered subjects in her first novels, Northanger Abbey and Sense and sensibility.

There are, for example, obvious similarities between Laura, here, Catherine Morland in Northanger Abbey and Marianne in Sense and sensibility, but Laura’s complete refusal to recognise that sense has any place in her life is modified in Catherine and Marianne who learn through experience that their imagination and sensibilities, if left uncurbed, can get them into trouble. (Intriguingly the recipient of Laura’s letters is a Marianne. A little Austen in-joke perhaps?). Pride and Prejudice’s Lydia could perhaps be seen as Laura’s true heir: Lydia is not described in quite the same terms as Laura, but she certainly pays no credence to anything remotely sensible.

Now I’m going to be lazy and simply illustrate Austen’s changed approach with some comparative examples. Here is Laura on an older man, her husband’s father:

for what could be expected from a Man who possessed not the smallest atom of Sensibility, who scarcely knew the meaning of Simpathy, and who actually snored.

And here is Marianne, in love with the dashing Willoughby, on Colonel Brandon:

He was silent and grave. His appearance, however, was not unpleasing, in spite of his being in the opinion of Marianne and Margaret an absolute old bachelor, for he was on the wrong side of five-and-thirty; but though his face was not handsome his countenance was sensible, and his address was particularly gentlemanlike.

While Laura ends her tale with:

I took up my Residence in a romantic Village in the Highlands of Scotland where I have ever since continued, and where I can, uninterrupted by unmeaning Visits, indulge in a melancholy solitude my unceasing Lamentations for the Death of my Father, my Mother, my Husband, and my Freind.

Catherine learns her lesson and

… was completely awakened. Henry’s address, short as it had been, had more thoroughly opened her eyes to the extravagance of her late fancies than all their several disappointments had done. Most grievously was she humbled. … The absurdity of her curiosity and her fears — could they ever be forgotten? She hated herself more than she could express.

Exaggeration and parody are the tools used in Love and friendship, while the adult Austen used the more sophisticated, though no less funny, tools of wit and irony to achieve her satire.  And again, I’ll demonstrate with comparative examples. In Love and freindship she satirises novel-reading with broad humour:

“Where, Edward in the name of wonder (said he) did you pick up this unmeaning gibberish? You have been studying Novels I suspect.”

But in Northanger Abbey, the plot itself demonstrates the foolishness of reading novels unwisely, while a respected character conveys Jane’s truth:

The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.

Love and friendship is unsubtle, and is clearly the work of a youthful writer, but it is a hoot to read and we are lucky to have it (and her other juvenilia) to show us an author in the making.

Note: Love and friendship (1790) is available in many formats and manifestations. My first copy was in RW Chapman’s edition of her Minor works, but this time I read it on my Kindle using a bought version, the Oxford World Classics edition titled Catharine and Other Writings. However, you can read (or obtain) it online at Project Gutenberg.

This book draws together some of Jane Austen's earliest literary efforts. It includes "Love & Freindship" and "Lesley Castle" both told through the medium of letters written by the characters. It also contains her wonderful "History of England" and a "Collection of Letters" and lastly a chapter containing "Scraps". In these offerings, we may see the beginnings of Miss Austen's literary style. We may also discern traces of characters that we encounter in her later works. G. K. Chesterton in his preface, for example, says of a passage in Love and Freindship; "... is there not the foreshadowing of another and more famous father; and do we not hear for a moment, in the rustic cottage by the Uske, the unmistakable voice of Mr. Bennet?" These works are certainly worth exploring for their own sakes and not simply as historical relics. - Summary by Noel BadrianBegun when she was just eleven years old, Love and Friendship is one of Jane Austen's stories that very few readers may have encountered before.Austen experts feel that this story was written, like many others, only for the pleasure of her family and friends. It is scribbled across three notebooks, in childish handwriting, and the complete work is thought to have been written over a period of six or seven years. It is dedicated to one of her cousins, whom she was very close to, Eliza de Feuillide. Eliza herself was an extremely colorful figure and is thought to have been the illegitimate daughter of the first Governor General of India, Warren Hastings. She was also a witness to the French Revolution where her husband, the self styled Comte de Feuillide was guillotined.For the young Jane, these events must have been sheer inspiration to a writer's imagination. Love and Friendship takes the shape of an expostulatory novel. Written as a series of letters from Laura to a much younger Marianne who is her friend Isabel's daughter, it is meant to apprise the young and flighty Marianne about the dangers of infatuation and falling headlong into romantic love. The book offers an early and crucial insight into Jane Austen's style, her wonderful sense of humor and her take on contemporary society.At times, she portrays events almost in parody form, at others, she is sharp and critical, but as always, the typical Jane Austen brand of gentle, sparkling wit is highly evident. She describes the concept of "sensibility” or what we would today call "sensitivity” or "sentimentality” and how it can be taken to ridiculous extremes. The deliberately twisted and complicated plot is replete with fainting fits, deaths due to a variety of causes, including "galloping consumption,” plenty of drama, elopements galore, unbelievable coincidences and wicked philanderers—all the elements that a typical potboiler of the era would contain.Love and Friendship was written primarily for the amusement of her large and gregarious family, and young Jane was probably called upon to read her writings aloud. The reader can only imagine the sheer hilarity that the novel must have evoked. As part of a collection of Jane Austen Juvenilia, this is indeed a treasure trove for Jane Austen enthusiasts as it offers early glimpses of that brilliant talent which was to shine forth a few years later and delight readers of all ages.⁸