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A Memoir of Jane Austen

A Memoir of Jane Austen

A Memoir of Jane Austen

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Introduction

the literary remains in family hands for his own shaping. Chapman

was Secretary to the Delegates at Oxford University Press,

which had as recently as 1923 issued under its Clarendon imprint

his pioneering edition of the six novels–– not only the first accurate

text of Jane Austen’s novels, after the careless reprint history

of the nineteenth century, but the first major textual investigation

of the English novel as a genre.

Since 1926 there has been no serious editorial engagement

with the Memoir and little critical attention paid to it. 3 Yet James

Austen-Leigh here assembled a major work of Austenian biography

which stands unchallenged as the ‘prime source of all

subsequent biographical writings’. 4 This is even clearer when, as

in Chapman’s edition and in the edition printed here, the Memoir

is cut free from the manuscript writings which in 1871

threatened to overshadow it. What is left is an account of a life

shaped and limited by the recollections, affections, and prejudices

of a very few family members who knew her. But it is

worth dwelling on those drafts a little longer because, by attaching

Lady Susan and The Watsons to the Memoir text of 1871,

James Austen-Leigh, by this time an elderly and respectable

Victorian clergyman, may be said to have undermined his overt

purpose. ‘St. Aunt Jane of Steventon-cum-Chawton Canonicorum’,

as Austen-Leigh’s hagiographic portrait has been wittily

dubbed, is a comfortable figure, shunning fame and professional

status, centred in home, writing only in the intervals permitted

from the more important domestic duties of a devoted daughter,

sister, and aunt. ‘Her life’, her nephew summarized, ‘had been

passed in the performance of home duties, and the cultivation of

domestic affections, without any self-seeking or craving after

applause’ (p. 130). To such a meek spirit, writing was of no more

value than needlework, at which she equally excelled: ‘the same

hand which painted so exquisitely with the pen could work as

delicately with the needle’ (p. 79). Indeed, when Austen-Leigh

xv

3

An exception must be made for D. W. Harding’s edition, issued as an appendix to

Persuasion (Harmondsworth: Penguin Books, 1965).

4

As stated by David Gilson in his introduction to the facsimile reprint of the 1870,

first edition of the Memoir (London: Routledge/Thoemmes Press, 1994), p. xiii.

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