Recently, I was asked by a local teacher to speak to her English class after the students had read Pride and Prejudice and Wuthering Heights. Below, you will find my notes for a comparison/contrast between the Brontës and Austen. As I have been out of the public classroom for several years, I did a bit of brushing up before opening myself up to lots of questions from these students.
(Many of the key points below come from “Tory Daughters: Jane Austen and the Brontës,” from Patrick Parrinder’s Nation and Novel, 512 pages, Oxford University Press, November 15, 2008. This book is a fabulous resource, which I would highly recommend to others.)
(These notes are in no particular order.)
Introduction to the early 1800s:
• Fictional romance requires that the young lovers defy social norms, but the novels of Austen’s contemporaries, such as Maria Edgeworth (I am currently reading “Castle Rackrent.”) reflect specific anxieties about marriage in the early 19th Century. For example, in “Castle Rackrent,” Edgeworth seems to be reconstructing an heir worthy of Irish legitimacy. As a female writer, Edgeworth appears to be fortifying the system of primogeniture, which separated women from access to property.
• The idea of a companionate marriage became increasingly dominant in the early 1800s. Austen’s novels did much to propagate this middle-class idea.
• Advocating love matches and companionate marriages in novels also held a symbolic element. Each new alliance represents a further weakening of the dynastic line.
• A common complaint of Austen’s novels is her heroines marry for love. What the critic is missing is that the marriage can also hold political and social significance. Women can be active agents of cultural change. (See my posts on endogamous and exogamous marriages.)
• In a time when divorce was expensive and required Parliamentary approval, selfish and short-sighted family interests being set against the wider social interests that the lovers embody demonstrates the novelist implicit or explicit prejudices.
• Up until the Victorian period, the politics of marriage in English fiction reflected the social norms of the aristocracy and gentry. The narrative often frames and marks as “foreign” the literary conventions of sensibility.
• The importance to the landed estate is England’s future is an element of the stories. The concept of primogeniture is reinforced.
• The English ‘Jacobin’ novelists of the 1790s (such as Charlotte Smith, Thomas Holcroft, and Robert Bage) produced parables of a reformed aristocracy rather than visions of an aristocracy overthrown by the people. Their novels tend to suggest that an enlightened aristocracy could still form the backbone of the English nation. Rarely do these narratives endorse any single, self-identical political future.
• The Church was a vocation open to the younger sons of the landed gentry. Members of the clergy were Oxford or Cambridge graduates.
• A clergyman’s life was associated with genteel poverty and a lack of ruling-class privilege.
• A clergyman’s daughters were so pressed to marry. Austen remained unmarried, while Charlotte Brontë eventually married the Reverend Arthur Nicholls.
• The English “courtship novel” appealed to female writers and readers.They reflected the tension between the traditional definition of womanhood in terms of the marriage mart, and women’s demand for moral independence and self-respect. Female-authored novels of the period made an attempt to frame sentiment as an outmoded, if still dangerously attractive structure of feeling.
• The heroines of courtship novels are outside the charmed circle from which aristocratic brides are chosen. They have no obvious dynastic responsibilities, and the marital expectations that have been formed about them are the vaguest.
• These heroines are relatively free and are conscious of their freedom; and coming from staunch Protestant backgrounds, they possess a moral conscience and a desire to take personal responsibility for their own lives. The movement between literature and history forms a transition between private and public meanings.
• The aim of the fictional plot in the courtship novel is not simply to portray the heroine’s growth towards self-fulfillment and a settled happiness. The happy ending translates her moral assets into material ones, suggesting that – in fiction, at least – virtue has its earthly reward.
• The Happily Ever After of the courtship plot rewards the most morally deserving pair of lovers while thwarting all rival claimants. The allegories of love and marriage are not only subject to particular forms of narrative inscription that ultimately determine their meanings but also deeply embedded with a political moment that demands closer attention.
• The politics of the HEA ending depends upon its relationship to the conventional hierarchy of wealth and breeding. Most often, the established social power is unexpectedly reaffirmed while the aristocracy is revitalized by an infusion of social responsibility and Christian virtue (the typical dowry of clergyman’s daughter).
• The courtship novels lead us through romantic complications, intricate false alarms, and delicate misunderstandings to an endorsement of Tory England.
Jane Austen:
• Resided at Steventon Rectory
• She came from a solidly genteel background and was strongly anti-Jacobin.
• Her characters are far more ill at ease in fashionable society than those of the Jacobin novelists, whose politics she so disliked.
• The Jacobins remembered the anti-Royalist origins of the Whig party and dreamed of an alliance between radicals and reformed Whig aristocrats.
• For Austen, however, the 18th Century diversion between the Tory country gentry and the ruling Whig aristocracy was a deeply personal matter.
• Austen has been described as the “Tory daughter of a quiet Tory parson” and her novels as “Tory pastorals.”
• Although party names never appear in Austen’s fiction, the stinging portrayal of an aristocratic grande dame, such as Lady Catherine de Bourgh, implicitly involves party politics.
• Austen’s outspokenly Royalist teenage History of England, admittedly a burlesque, reveals the strong political opinions, which later mellowed into her family’s moderate Toryism.
• A Church of England parson held a duty to support the monarchy and the ruling class and to preach patriotism and social obedience to his flock.
• Patriotism accompanied paternalism. The parson also held the role of “spiritual father” to his flock.
• In Austen’s novels, it can be argued “the significance of marriage as a relationship between individuals…is always subordinate to its significance as a relationship between families.
• Austen’s characters are strongly individualized and are not carried away by the anarchy of romantic love.
• There is an important variation in Austen’s marriage plots, some of which are endogamous – as in Edmund Bertram’s union with his cousin Fanny – and some exogamous. Endogamous marriage implies the purification and consolidation of a house, a dynasty, or a community. It is a defensive, protective measure. Exogamous marriage is a union of opposites – political, social, and temperamental – injecting new blood into one of the nation’s old or ruling families.
• The culminating marriages in Austen’s fictions are socially and economically far more advantageous to the heroine than the hero. Moreover, exogamous marriage is fraught with danger in her novels.
• To marry openly for economic advantage (as with Charlotte Lucas in Pride and Prejudice) is to invite the novelist’s scorn.
• Those who marry beneath them in essentials are set for misery (such as Mr. Bennet in Pride and Prejudice and Sir Thomas Bertram in Mansfield Park).
• Austen’s heroines must resist easy captivation and must appear to disregard material considerations so their ability to contract a wealthy marriage becomes a tribute to their integrity alone. The heroine who rejects the handsome cavalier or bounder in favor of the unbending man of virtue (or prig) is set to fulfill her destiny.
• Her “cavaliers” are characterized by vacillation, self-contradiction, and inconsistency. They are all “Beta” males.
• Ironically, Austen uses many “Whig” names in her stories: Wentworth, Woodhouse, Watson, Bertram, Brandon, Churchill, Dashwood, D’Arcy, Fitzwilliam, Russell, and Steele.
• A self-imposed limitation of Austen’s novels is she only “hints” at social change.

Charlotte Brontë:
• Resided at Haworth Parsonage
• The Brontë sisters were daughters of an Irish father and a Cornish mother, who idolized the Anglo-Irish Duke of Wellington, the victor of Waterloo and, eventually, a Tory prime minister.
• Wellington and his brothers are the central figures of the fantasy world of the Class Town (later Angria) created by Charlotte and her brother Bramwell in their youth.
• At the age of 13, Charlotte copied out Walter Scott’s tribute to Wellington in his Life of Napoleon Bonaparte, adding the following exclamation: “If he saved England in that hour of tremendous perils, shall he not save her again?”
• The Victorian critic Leslie Stephen saw Charlotte Brontë as a typical example of the ‘patriotism of the steeple.’
• Charlotte thought of herself as the antithesis of Austen.
• Charlotte, for all her sympathy with oppressed woman, was a political conservative and an ardent admirer of Walter Scott.
• Her novels are “a marriage of identifiably bourgeois values with the values of the gentry or aristocracy – a figurative political marriage.”
• Jane Eyre’s whole life is determined, as we gradually realize, by a series of rash and impolitic marriages in preceding generations.
• At every stage of the novel, the young Jane is the chosen pilgrim following a predestined path, while her imagination continues to construct fictional versions of herself; her true identity is gradually revealed.
• In Jane Eyre, we see a Victorian “English-ist” in the characters. Those outside of England (Rochester’s French mistress, the Francophile Whig aristocracy represented by Blanche Ingram, etc.) set against the superiority of the English (Jane Eyre).
• The deepening love between Jane and Rochester is one of the English novel’s crowning examples of an exogamous sexual romance based on the attraction of social and historical opposites.
• Jane Eyre escapes from Rochester only to find herself being endogamously courted by St John Rivers, the country vicar and Puritan saint, who is her cousin.
• Where Rochester would have lured her into a bigamous marriage, Rivers proposes a mere marriage of convenience, not a love match or a union likely to lead to offspring.
• Rochester’s marriage to Bertha Mason was intended to carry colonial wealth back to England, while Rivers plans to export evangelical spirituality to India and tells Jane it is her duty to assist him.
• What Jane detects in Rivers is the self-mortifying patriotism of the new breed of British imperialists.
• Their life at Ferndean is one of repatriation and restoration.
• Rochester’s blindness is the blindness of Samson, but Jane’s arrival at Ferndean puts him back into familiar English hands.
Emily Brontë:
• Wuthering Heights is understood as a provincial novel, portraying violent and brutal extremes of behavior and set in a wildly romantic landscape.
• The primitiveness of the Yorkshire moors is registered through the eyes of the southern-bred Lockwood.
• The novel’s confined topography is in sharp contrast to the cosmopolitan settings and incessant journeyings of the Gothic and Jacobin fiction to which it is indebted.
• Brontë balances the Gothic material in WH against a tale of courtship and domestic passion.
• The striking two-part structure, with bitter conflict in the first generation and gradual reconciliation in the second, had been anticipated in at least one earlier courtship novel, A Simple Story (1791) by Elizabeth Inchbald, the author of the English version of Kotzebue’s Lovers’ Vows, which was performed as part of the story of Austen’s Mansfield Park.
• In Wuthering Heights, provincial Puritanism to some extent takes the place of A Simple Story’s high bred Catholic spirituality.
• The Puritanical sermons of Joseph and Jabes Branderham set a devotional context for the love story.
• Catherine’s admitting her love for Heathcliff is a kind of neo-paganism or romantic nature worship. Her words are a poetic metaphor rather than inspired truths, and are deeply false.
• Catherine is portrayed as cruel and self-destructive as is her brother Hindley.
• Heathcliff is the Holy Ghost whom Joseph and Branderham wished to see excommunicated. This means the romantic passion of Catherine and Heathcliff is not a bond between external soul-mates, but a union of opposites, a Puritan-Cavalier love tragedy in which the vengeful Puritan outcast attempts to drag his former lover down to destruction.
• The more Catherine accepts the namby-pamby lifestyle into which she has married, the more Heathcliff accepts his demonic role of eternal excommunication.
• Heathcliff’s elaborate plan of revenge cannot prevent a growing alliance between the Earnshaws (remnants of the old yeoman class of independent farmers) and the Lintons (genteel land owners).
• Heathcliff’s death sums up the novel’s themes of dynastic succession, sin and punishment, excommunication, and devil-worship. He has made arrangements for an un-Christian burial.
Similarities/Differences:
• Their novels reflect their authors’ rural and Anglican backgrounds and their concern with patriotism, paternalism, pastoralism, and the moral accountability of the individual.
• Patriotism is a stronger emotion in Austen and Brontë than in most English women novelists before or since.
Jane Austen Film Adaptations:
* Unleashing Mr. Darcy (2016) – TV
* Love and Friendship (2016) – Film
* Austentatious (2015) – TV Series
* Pride and Prejudice and Zombies (2015) – Film
* Northbound II (2015) – TV Series (modern Northanger Abbey)
* A Modern Persuasion (2014) – Film
* Pride and Prejudice (2014) – TV mini-series
* Sense and Sensibility (2014) – Film
* Lady Susan, Missing Masterpiece (2013) Short Film
* Death Comes to Pemberley (2013) – TV mini-series
* Emma Approved (2013) – TV Series
* Austenland (2013) – Film
* Pride and Prejudice: Having a Ball (2013) – TV Movie/Documentary
* The Lizzie Bennet Diaries (2012) – TV Series
* Scents and Sensibility (2011) – Film
* The Many Lovers of Miss Jane Austen – TV Movie/Documentary
* Pride and Prejudice: A Modern Day Tale of First Impressions (2011) – Film
* Prada to Nada (2011) – Film – modern day Sense and Sensibility with a Spanish “flavor”
*Aisha (2010) – an Indie film version of Emma
*Jane Austen Handheld (2010) – Film – told through a documentary-style film format
* Emma (2009) a BBC TV mini-series
* Sense and Sensibilidad (2008) – Film
*Lost in Austen (2008) – TV mini-series that takes the main character into the novel’s pages
* Sense and Sensibility (2008) – TV mini-series
* Jane Austen Trilogy (2008) – a documentary with bibliographic intentions
* Miss Austen Regrets (2008) – a made-for-TV show based on Austen’s letters
* The Jane Austen Book Club (2007) – film based on the popular best-selling book
* Mansfield Park (2007) – TV movie
* Northanger Abbey (2007) – TV movie
* Persuasion (2007) – TV movie
* Becoming Jane (2007) – popular film based on Austen’s letters
* Pride and Prejudice (2005) – Film
* Bride and Prejudice (2004) – Indie film
* Pride and Prejudice (2003) -modern adaptation film
* The Real Jane Austen (2002) TV movie/documentary based on Jane Austen’s letters
* Kandukondain, Kandukondain (2000) Film based on Sense and Sensibility
* Mansfield Park (1998) – Film
* “Wishbone”- “Pup Fiction” (1998) -an episode of the popular TV show
* “Wishbone”- “Furst Impressions” (1997) – an episode of the popular TV show
* Emma (1996) – TV movie
Emma (1996) – Film
* Sense and Sensibility (1995) – Film
* Persuasion (1995) – TV movie
* Pride and Prejudice (1995) – TV mini-series
* Sensibility and Sense (1990) – TV movie
* Northanger Abbey (1987) -TV movie
* Mansfield Park (1983) – TV mini-series
* Sense and Sensibility (1981) – TV movie
* Jane Austen in Manhattan (1980) – Film
* Pride and Prejudice (1980) – TV mini-series
* Emma (1972) – TV mini-series novel
* “Novela” – “Persuasión” (1972) -TV series episode
* Sense and Sensibility (1971) – TV movie
* Persuasion (1971) -TV mini-series
* “Novela” – “La abadía de Northanger” (1968) -TV series episode
* Pride and Prejudice (1967) – TV series
* “Novela” – “Emma” (1967) – TV series episode
* “Novela” – “Orgullo y prejuicio” (1966) -TV series episode
* “Vier dochters Bennet, De” (1961) – TV mini-series based on Pride and Prejudice
* Emma (1960) – TV movie
* Camera Three (1960) – TV series based on Emma
* Persuasion (1960) – TV mini-series
* Pride and Prejudice (1958) – TV series
* Pride and Prejudice (1958) – TV film
* “General Motors Presents: Pride and Prejudice” (1958) – TV series episode
* “Orgoglio e pregiudizio” (1957) – TV mini-series
* “Matinee Theater: Pride and Prejudice” (1956) – TV series episode
* “Kraft Television Theatre: Emma” (1954) – TV series episode
* Pride and Prejudice (1952) – TV mini-series
* “The Philco Television Playhouse: Sense and Sensibility” (1950) – TV series episode
* “The Philco Television Playhouse: Pride and Prejudice” (1949) – TV series episode
* Emma (1948) -TV film
* Pride and Prejudice (1940) – Film
* Pride and Prejudice (1938) -TV
Earlier than the descriptions Lord William Bentinck, cholera was noted in Jessore, India, in 1817. It spread quickly to Russia by 1823, to Hamburg, Germany, by 1831, and the first case in London was documented on 12 February 1832. Thankfully, only about 800 victims were named in the East London slums. “In 1832 more people died of tuberculosis than cholera, and a child born of a labourer in Bethnal Green had a life expectancy of only 16 years. However, cholera evoked a response in social terms, and a contribution to the development of public health, of far more significance that its effect on mortality at the time.
Merrick THHOL
Very unusual remedies against cholera were advertised in the press.
From the 













Introducing 
This process has me thinking on Austen and her life. We all are aware that Austen wrote what she knew. Most authors do, except perchance those who write paranormal or science fiction or fantasy (although I would argue that these made-up worlds have similarities to the present day) and to an extent, historical fiction, but even with historical fiction, I often include something that occurred in my personal life. For example, in Christmas at Pemberley, I have Elizabeth grieving for the babies she had yet to carry to term. She goes so far as not to permit anyone even to mention the child or to present her with clothing for it. This came from my life. I experienced an ectopic pregnancy and two miscarriages before my son Joshua made it into the world. I refused all baby showers, talking of the pregnancy, speculating on the child’s sex, etc., until I was six months along. I thought if I could carry to six months, that he would make it. [Incidentally, my Josh was anxious for the world. He came at 7 and a half months.]
In Austen, we view parts of the Regency culture through a microcosm of a handful of families in each village Austen creates. Women married for security (and hopefully, for love). But if there was no love in equation, these women would likely still marry the man (for example, Charlotte Lucas in Pride and Prejudice). They sought out someone of their social class. Remember Elizabeth Bennet’s retort to Lady Catherine De Bourgh: He is a gentleman; I am a gentleman’s daughter; so far we are equal.” (Ch. 56) Those who were obsessed with high rank are satirized by Austen. The few members of the aristocracy that she includes in her tales are dunderheads, who are consumed with their own consequence. They range from the all-knowing Lady Catherine de Bourgh to the amiable, but dense, Sir John Middleton in Sense and Sensibility to the calculating Sir Thomas Bertram in Mansfield Park and the conceited Sir Walter Elliot in Persuasion.





Meet
When Viscount Avery comes to see an invalid chair maker, he does not expect to find Min Bradshaw, the woman who rejected him 3 years earlier. Or did she? He wonders if there is more to the story. For 3 years, Min Bradshaw has remembered the handsome guardsman who courted her for her fortune. She didn’t expect to see him in her workshop, and she certainly doesn’t intend to let him fool her again.
Lieutenant Rick Redepenning has been saving his admiral’s intrepid daughter from danger since their formative years, but today, he faces the gravest of threats–the damage she might do to his heart. How can he convince her to see him as a suitor, not just a childhood friend?
Rede, the Earl of Chirbury wants the beautiful widow, Anne Forsythe, from the moment he first sees her. Not that he has time for dalliance, or that the virtuous widow would be available if he did. Or perhaps not so virtuous? She lives rent-free in a cottage belonging to the estate, courtesy of his predecessor and cousin, George. And her daughter’s distinctive eyes mark the little girl as George’s child. But it isn’t just the mystery that surrounds her that keeps drawing him to her side.





Meet Author Heather King
Introducing

The birth experience during the Regency era was very difficult for women. We often hear the reason that men chose a younger woman (and women were on “the shelf” at age five and twenty) was that the younger girls were thought better to survive child birth. And no wonder! Did you realize that during this period a woman would experience pregnancy some ten times. The women gave birth to an average of six times during their lifetimes. Edward Shorter in Women’s Bodies: A Social History of Women’s Encounter with Health, Ill-Health and Medicine says, “The indifference of men to the physical welfare of women is most striking in regard to childbirth. …child bearing was a woman’s event, occurring with the women’s culture; a man’s primary concern was to see a living heir brought forth. I am not [Shorter] trying to cast the husbands of traditional society as fiends but want merely to show what an unbridgeable sentimental distance separated them from their wives. Under these circumstances it is unrealistic to think that men would abstain from intercourse in order to save women from the physical consequences of repeated childbearing.”
In her book In the Family Way: Childbearing in the British Aristocracy, 1760-1860, Judith Schneid Lewis shares some interesting facts of the time period. Ms. Lewis studied 50 aristocratic women for the book. From these studies we learn that these 50 women averaged 8 children over an eighteen year period. The women in the group married typically at 21 and gave birth to her first child within 2.25 years. They continued to present their husbands with children until the age of 40.


