Inactivity of the Inhabitants of Hertfordshire

A freeholder of Hertfordshire’s “The Necessity of Associating for the Purpose of Obtaining a Parliamentary Reform, Enforced” (1792) helps to explain how the setting of Jane Austen’s Pride and Prejudice contributes to the complete lack of political discussion in it. This essay, anonymously written, explains the lack of political stance of the men of Hertfordshire, where a majority of the novel takes place, and their decisions not to create an assembly of men to promote political reform. The author makes clear that most other counties have already created such assemblies and that Hertfordshire should be next. This author particularly explains the men of Hertfordshire creating an assembly of “Gentlemen [who] are not to be intimidated from a steady pursuit of that object which is so just in itself, and so absolutely necessary for this Country, that in the End it must be attained, notwithstanding all the opposition that interested wickedness may raise against it” (4). The author then gives an account of “all [the government’s] abuses and corruptions” (7) and states that the men of Hertfordshire must want nothing to do with these ignoble causes. This culminates into the idea that the author hopes “the Inactivity of the Inhabitants of Hertfordshire will no longer be complained of” (8) and that they will join their fellow countrymen in support of a massive reform of the political system of England.

 

This address insists we understand Pride and Prejudice as being purposefully set in Hertfordshire as one of the few locations in England which would allow for political discourse to not exist. It seems very clear that Austen intentionally left out arguments and discussion on politics as the Napoleonic wars were at the forefront of every Englishman's mind. There are a number of ways to read this, including that although war is at the doorstep of the English people the gentry seem unconcerned or that this novel actually includes a criticism of the apolitical men of Hertfordshire. Having this knowledge of the political viewpoints of the freeholding men of Hertfordshire increases the reader’s interest in what is lacking from the novel and what that indicates in the novel’s view of itself. If the novel imagines itself as a courtship novel which lays out the proper and improper ways to build a relationship, politics would take away from that main idea and may hide the central concept too deeply. Jane Austen had to choose a location where not only would it be acceptable to not discuss politics, but where this was normal. However, if the novel imagines itself as being primarily concerned with economics, there might be more need for interest in politics and the effect imposed taxes for war have on the community. One thing may be assumed safely, the novel does not imagine itself as primarily a political novel because it does not so much as mention anything about the wars or the regency at large. At best Pride and Prejudice can be viewed as having political commentary by its complete lack of politics as allowed in Austen's chosen setting.

“Nothing so Unmilitary”: Examining How Uniforms Influence Love in Pride and Prejudice

Soldiers in Regency England had the bad reputations of being some of the most inveterate rakes of the time, settling in towns with their companies and seducing the young daughters in the area. In Jane Austen’s Pride and Prejudice, it is interesting that one of the most attractive men is a soldier, Mr. Wickham. When he gathers at parties he is the center of attention, and certainly catches Elizabeth Bennet’s eye. When he is first introduced, Austen writes, “His appearance was greatly in his favour; he had all the best part of beauty, a fine countenance, a good figure, and very pleasing address” (111). Part of the attraction to Wickham could be attributed to the uniform he would be wearing that would establish him as a man of action and honor in the King’s army. However, earlier in the same paragraph as the previous quote, of Wickham it is said, “the young man wanted only regimentals to make him completely charming” (111) with regimentals being defined by the Oxford English Dictionary as “a military or regimental uniform.” He was not wearing his uniform when he met the Bennet sisters, which could set him off as someone of a rebellious attitude towards regulations. Of course, soldiers were expected to keep their uniforms on at all times to maintain a sense of professionalism, and these accoutrements were to be kept in tip-top shape.

  

A selection from The standing orders for the Norwich; or, Hundred and Sixth Regiment by the British Army says as such in the manual to be given to officers who were stationed throughout England. It explains in the following passage in explicit detail how officers should be presented to the public and in exacting detail what to not wear with their uniform: Nothing is so unmilitary as seeing the Officers walk about in plain Clothes, and it is therefore absolutely forbid by his Majesty’s Orders; nor must they, on any Account, wear any Waistcoat and Breeches with their Uniform but white Cloth, Kersheymere, or Leathern Breeches, with regimental Buttons, made in the regimental Pattern, viz Waistcoat cut round and single breasted, no Colour appearing; the Breeches to buckle at the Knee. (Great Britain Army) With this new perspective from the primary source of the time, it makes the relationship (some may even label it a courtship) between Elizabeth and Mr. Wickham even more scandalous, as he was not only a soldier who had come into town and spread negative rumors about Mr. Darcy, but he is also a soldier who disregards dress regulations. This makes Mrs. Gardiner’s advice to Lizzy against Mr. Wickham more sensible, Lydia’s marriage to him more ill-advised, and the fact that Mrs. Bennet so approved of him more unbelievable. While gambling and drinking could be seen as entertainments everyone indulges in from time to time, Wickham’s snub at military parameters would be more officially punishable. Therefore, Lizzy’s attraction to the “bad boy” of the redcoat company in town further shows her lack of good sense, and makes her pride of her logical attitude seem more ridiculous than previously considered. With this new reading of the text, it calls into question whether Lizzy is a trustworthy protagonist at any time regarding romance, or whether she lets her emotions rule over any amount of good sense she could have. 

The Physic or Exotic Garden

“London; Being an Accurate History and Description of the British Metropolis and its Neighbourhood: To Thirty Miles Extent, from an Actual Perambulation” (1808) by David Hughson paints a picture of the landscape/setting that one would have seen during the Regency, and some which can be read about in Jane Austen’s Pride and Prejudice (1813). In this piece of Literature, London is described as the most beautiful place there is. “Nothing can be more beautiful; here is a plain and pleasant country, a rich fertile soil, cultivated and enclosed to the utmost perfection of husbandry; then bespangled with villages, the houses surrounded with gardens, walks, vistas, and avenues, representing all the beauties of building, and all the pleasures of planting.” Multiple places are described ranging from the average household to mansions and Palaces. Some households would depict religious scenes such as a person or scene from the Bible displayed in a painted glass window. In the windows are coats of arms, sundials, and portraits. Gardens and parks, some stretching 13 acres, are “laid out with taste.” Carriages would travel through the park aside from the regular carriage roads. A Palace would be the most grand and vast with much money put into remodeling of rooms, such as turning a room into dancing room. As balls were a popular form of entertainment, it was not uncommon for a room of a grand house to be converted into a dancing room. After Archbishop Laud was beheaded, his palace was converted to a prison where the soldiers lived in excess. The furniture was sold and the coal and wood was reserved for military use. The parish church of St. Mary, Lambeth had a very ancient foundation and the tower remained even after it was rebuilt in the 14th century. The floor was paved with stone and the roof was covered with lead. Gothic arches and windows could also be seen here. An ancient mansion is also described dating back to 1650. The chimney piece is of wood with carved compartments containing items such as family urns and a lion passant guardant. On the back of the grate is a cast of Neptune included with tritons. The Palace of Kew is described, also containing many pictures and portraits. The gardens, which contain 120 acres, were begun by the late Prince of Wales. The Flower Garden, also known as the Physic or Exotic Garden, has two sides that are enclosed with trees, and the end facing the entrance is occupied by an aviary with numerous of both foreign and domestic birds.

   

Descriptions of places in London that are shown here can also be related to the descriptive settings that Austen provides in Pride and Prejudice. Hughson’s illustrations of various paintings and portraits as well as galleries can build a connection to those of Austen’s novel. Hughson describes a manor with detail on each room such as The Long Gallery with all its portraits, The Great Dining Room with all the archbishops, a grand Library, The Presence Chamber with multiple windows containing painted glass, along with other great rooms that make up the vast residence. When Elizabeth Bennet arrives at Pemberley for the first time she is in awe at the vastness of the property. The exterior and interior are described with such detail that is all to her liking that she can imagine spending a lifetime in the place. When her eyes first fell upon the wondrous site, she couldn’t help but admire every remarkable spot and point of view. Elizabeth Bennet originally was not quite taken with Mr. Darcy but once she explored his mansion, all previous thoughts about him turned positive. The opening line of the novel states “it is a truth universally acknowledged, that a single man in possession of a good fortune, much be in want of a wife” proves to be true, clarifying that money and estate are held in such high regards when it comes to marriage.

I Never in My Life Saw Anything More Elegant than Their Dresses

London characters: or, Fashions and customs, of the present century is a book by Sir Barnaby Sketchwell (1809) that depicts the type of fashion in the Regency era and its popularity even in the theatre industry at that time. This writing is reminiscence of Austen (20) reference to a strong taste for fashion in that period. This is what he mention when he describes the manner “… of the fashionable world..” that one of the characters in the book – Darcy – so strongly despises or keeps away from. This shows that clothing in those times was being revolutionized by the introduction of additional costumes like caps or headgears Sketchwell’s story is about a royal family that seems to have a taste for fashion that was cropping up in the Regency era the same way Austen speaks of it. The Duchess of Pyrmont and the Duke are at the center of this story of a fashionable society at that time. Historically, the dukes and Duchesses have been known to have a flair for fashion through their costumes especially during public occasions. It is through this observation that the narrator observes “… both courted fashion and dissipation in whatever form they chose to present themselves …” (Sketchwell 2). Sketchwell is more enthusiastic when describing the women in the book. This might be due to the fact that the women in the 18th century Britain were just like today; overly conscious about their dressing in terms of how comfortable, decent and brilliant they were. The author points out the fashion of clothing at that time that was characterized by unnatural conformations. A good example is the waistline in the women’s dresses that seem to have been raised above the normal waistline but with an appealing effect on the women. But Sketchwell is almost fascinated by the use of fashionable costumes and this is evident in the illustration at the book’s front cover as shown below.

   

It is characteristic in the book that the type of fashion was also propagated by the need for attractiveness of the opposite sex of the courting partners. It is therefore common to find those who did not subscribe to the popular fashion being ridiculed. For instance, we read of “… Oh! Perhaps the rich sir Marmaduke Brooks, who walks out in an old greasy hat and a coat a cobbler would not be seen in ..” (Sketchwell 13). The writer shows how the beauty that resulted from the fashion attracted the comments of other individuals especially men taking advantage of this to flatter the women. For example, the Duke could frequently admire his “… Superbe Beauty of Madame la Duchess …” which was a humorous way of describing the duchess with a French touch. This is what also takes part in Austen’s book through Mr. Darcy and others. In addition, this is elegance that Mrs. Bennet says “I never in my life saw anything more elegant than their dresses” (Austen 43). However, it is not only women that were in this fashion in the Regency era but also their male counterparts were also not left behind. It is therefore observable that the men were also elegantly dressed and with accessories like hats common as the Duke in the story is fond of. The two books therefore seem to concur that Regency era was fashion filled.

Why Will Thou Bind Thy Lovely Brow?

Originally published in London in 1799, The Minstrel: in Two Books is a two-volume book of poetry by Scottish poet James Hay Beattie. Though Beattie’s long poem “The Minstrel” encompasses a large portion of the book, there are several of his other poems as well, including a poem titled “To the Right Honorable Lady Charlotte Gordon, Dressed in a Tartan, Scotch Bonnet with Plumes, etc.” In this poem, Beattie directly addresses a young woman whose bonnet he does not like. He begins by asking Lady Charlotte: “Why, Lady, wilt thou bind thy lovely brow/With the dread semblance of that war-like helm” (Beattie 1-2). For Beattie, the plumed bonnet resembles a military helmet that detracts from rather than enhances Lady Charlotte’s physical attractiveness. Though he does acknowledge the loveliness of her eyes, Beattie persists with his image of her bonnet as a masculine object describing it as a “plumy helmet” and referring to her demeanor as a “martial mien.” Beattie concludes the poem by decrying Minerva, the goddess of war and wisdom, by calling her charms “awful,” and offers instead the “Idalian queen” as the example Lady Charlotte should follow. She, unlike the wise and militant Minerva, relies solely on her femininity, thus rendering her the more attractive. 

This public scrutiny and debate about what constitutes an attractive woman is seen throughout Pride and Prejudice. Because of Mr. Darcy’s interest in her, Elizabeth is singled out by both male and female characters to be regarded, measured, and in the case of Miss Bingley, found wanting in terms of female beauty. When Elizabeth arrives at Netherfield to visit Jane, the Bingley sisters observe her appearance and her dirty petticoat and begin a two-fold assassination of both her beauty and her character. The act of walking a moderate distance alone and dirtying her petticoat dooms her as independent, and thus unfeminine in Miss Bingley’s eyes. Though certainly phrased much more civilly, Beattie’s critique of Lady Charlotte’s bonnet is no less a slight on her femininity. Taken together, a reader cannot help but sympathize with Elizabeth and other Regency women whose slightest wardrobe malfunction opened them up to intense scrutiny and unkind, baseless critiques. 

https://play.google.com/books/reader?id=xdMIAAAAQAAJ&printsec=frontcover&output=reader&authuser=0&hl=en&pg=GBS.RA1-PA92

“But the clothes, the wedding clothes!”: Fashionable Bridal attire in Jane Austen’s Pride and Prejudice

A fashionable wedding is foremost on Mrs. Bennet’s mind when she exclaims, “But the clothes, the wedding clothes!” (Austen 347). She is completely overcome with excitement at her beloved daughter Lydia being wed, despite the reasons for it, and it is incredibly telling that almost instantly she starts to envision what Lydia will wear! Regency ladies prized fashion, for all their sermons on the dangers of vanity, there was an insatiable desire for creativity in attire. In the 1816 May issue of La Belle Assemblee a new niche in women’s apparel was starting: the wedding gown. The article about the “Dresses of Her Royal Highness Princess Charlotte” may as well have been a fashion show, for all the detailed descriptions of her trousseau and in another article about her wedding to the Prince Leopold, “Her Majesty’s Drawing Room,” what all of her guests wore.

 

The Princess Charlotte and Prince Leopoldreturning from the altar after the Marriage Ceremony. 

The start of the description of the princess’s dresses first describes that she wore “on her countenance that tranquil and chastened joy which a female so situated could not fail to experience” (224), in other words the romantic and sentimental bridal glow is a part of her ensemble. It may perhaps be presumed that the tradition for brides to wear white has long been the norm in European wedding ceremonies, but this is not true for the Regency where a bride’s wedding attire was often merely her best dress and would be worn until it was no longer serviceable. White dresses, however, harkened back to the classical period that the Regency strived to evoke. In many of the fashion plates and descriptions found with in La Belle Assemblee the trend of “White dresses are now become general,” (39). The color was incredibly popular for dresses in general, not yet the hallmark of a bridal gown.

 

Princess Charlotte's wedding dress, 1816. The Museum of London. 

In fact, the princess Charlotte’s gown is one of the most famous wedding outfits of the Regency, which still survives in tact today. The dress is a “silver lama on net, over a silver tissue slip, embroidered at the bottom with silver lama in shells and flowers. Body and sleeves to correspond, elegantly trimmed with point Brussels lace. The manteau was of silver tissue lined with white satin, with a border of embroidery to answer that on the dress, and fastened in front with a splendid diamond ornament.”(224). Imported silver lace, glittering diamonds, the dress is only meant to be worn once, for the specific occasion of her wedding ceremony. Several more gowns featuring gold and silver with elements of lace, almost all of them are to be worn over a white satin slip (225). Cost does not enter into Mrs. Bennet’s dreams for “The marriage of a daughter… her thoughts and her words ran wholly on those attendants of elegant nuptials, fine muslins,” (351). Mrs. Bennet’s character is revealed to be completely frivolous and impractical in regards to the cost of such lavish preparations for Lydia as a new wardrobe. Mrs. Bennet, surely wishing to live vicariously through her daughter, plans an extravagant trousseau of several new dresses for Lydia. One can only imagine they were not on the scale of Princess Charlotte’s gowns, but never-the-less, this is a huge expense as “Mrs. Bennet found, with amazement and horror, that her husband would not advance a guinea to buy clothes for his daughter” (351). It seems at first comical that “She was more alive to the disgrace, which the want of new clothes must reflect on her daughter’s nuptials, than any sense of shame at her eloping and living with Wickham, a fortnight before they took place” (351). However, when one considers the attention to detail in the articles about Princess Charlotte’s wedding dresses, and the court dresses in “Her Majesty’s Drawing Room” it gives insight into Mrs. Bennet’s mental state of extreme dismay. The fact that photography had not yet been invented and that descriptions and drawings of the clothing would have all been done by hand, takes a considerable amount of time on the part of the authors and illustrators of fashion articles. The types of lace, the sorts of artificial flowers and the materials, the colors, and the cuts of fabric are a multitude of small elements that as a whole determined whether or not a person was fashionably attired. For a person like Mrs. Bennet whose sole ambition in life is to see her daughters married, what they wear on the day of the ceremony is the pinnacle of their lives in her eyes. Lydia in their new social position as a married woman will reflect directly on Mrs. Bennet. She wishes to show her daughter off to the neighbors in order to compete with them. If Lydia is fashionably garbed in the latest styles, which all women were to keep themselves current on, then Lyida would be perceived as superior to others less fashionably dressed. Their clothing serves as social marker as much as their new status gained from their husbands, as well as a financial one. For Mrs. Bennet what Lydia wears on her wedding day and to travel in is second only to the act of getting married. Fashion is crucial to convey the image of maternal success Mrs. Bennet wants to cultivate.

  

 Une Mariee. Journal des Dames ed des Modes. 10 September. 1813. Print.

"Dancing is of More Importance to a Gentleman Than at First it Appears"

Within a collection of Literary Anecdotes of the Eighteenth Century (1815) lies a letter Reverend Roger Pickering composed to a dear friend “On the Education of his Son.” Pickering pens a detailed account of what he hopes to teach to this friend’s son as his tutor, covering topics ranging from the classical languages to dancing. He argues that “Dancing is of more importance to a Gentleman than at first it appears. People form their judgment, and take impressions very frequently, from a person’s air and carriage, which dancing greatly contributes to make easy and graceful” (334). Pickering writes further to explain that the youth that he is instructing has tendencies that are unbecoming of a Gentleman his age. He feels firmly that “A little introduction into suitable company…together with learning to dance, will in a short time be found to make a great alteration in all these particulars” (336).

   

Pride and Prejudice showcases the importance of a proper gentleman in motion at the Meryton Ball. Upon entering the room, Mr. Darcy is quickly decided as being the most agreeable and attractive man in attendance. However, this opinion is short lived. Mr. Darcy only dances with members of the same party he arrives with and refuses to be introduced to any other ladies. Shortly after this it is decided that “He was the proudest, most disagreeable man in the world, and every body hoped he would never come there again” (40). This is a strong contrast against Mr. Bingley, who danced the night away and decided to throw a ball of his own. Between the two men, it is not who has the most money, the best looks, or the larger property that establishes his likability, but his ability and desire to dance. Mr. Darcy in not dancing presents himself as a stiff person with little to no regard to those around him. He is seen as though he views himself to be better than the others present in his company. Mr. Bingley is considered the opposite because he acquaints himself with everyone in the room and is not shy about moving his feet. If only Mr. Darcy would have considered a dance lesson or two, maybe he would have kept the heads of Meryton society turned in the right direction.

There Are But Few Things Which Can Afford Us Greater Pleasure or Improvements

The author of New and elegant amusements for the ladies of Great Britain (1772) is a Lady. Her publication serves to guide women in “sciences” that will help them improve their minds. The author’s aim is to instruct readers in the “Polite Arts and Sciences” because she feel that “…the heart-enlarging and improving Sciences, at this time give way to a more trifling round of fashionable Amusements” (vii). In other words, the Lady author is dismayed to find that women in her society are more focused on being amused than on improving developing rational thinking. In response to her concern for the women of Great Britain, she has written a treatise that will not only amuse ladies, but will also instruct them. In particular, the author explains astronomy, geography, maps, and the use of globes in a way in which she thinks ladies are better able to understand than the ways in which men learn these subjects. The Lady also divides what she views as the “Polite Arts and Sciences” into two groups: rational amusements and entertaining amusements.

   

Among the rational amusements is reading. In her treatise, the Lady writes how important she believes reading to be, especially since “…there are but few things which can afford us greater pleasure or improvement…” (51). The author is careful to present readers with authors and works which she believes will best guide women in their studies. The works do not include novels, which the Lady regards as “insipid” (51). Reading is a topic that is also discussed in Jane Austen’s Pride and Prejudice (1813). Mr. Darcy comments on Elizabeth reading during her visit to Netherfield after Jane has fallen ill. In chapter eight of the first volume of the novel, Miss Bingley describes the “accomplishments” she believes a woman should have (Austen 73). To Miss Bingley’s list of accomplishments Mr. Darcy adds, “‘All this she must possess’… ‘and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading’” (74). Mr. Darcy’s sentiments seem to mirror those expressed by the Lady in her treatise. That Mr. Darcy should expect a lady to improve her mind through extensive reading fits with what many in the Regency culture expected of women. Mr. Darcy approves of Elizabeth’s reading as would most men of his day. Miss Bingley also alludes to the fact that Pemberely has an extensive library, where readers would assume that Miss Darcy reads extensively. Ironically, Austen creates a character in her novel that would perhaps not approve of women reading novels. Thus, while Mr. Darcy’s beliefs about reading reflect those of many during the Regency period, Jane Austen’s beliefs appear different. Austen, at least, seems to challenge her society’s view of novels or the content that they typically present.

I’ll tune my pipe to playful notes . . . And hail the one I love: “Kate of Aberdeen” in relation to Mr. Bingley’s sentiments in Pride and Prejudice

John Cunningham’s “Kate of Aberdeen,” (1777), gives further insight into Mr. Bingley’s interest in Jane Bennet in Pride and Prejudice (1813) (Burns 303). “Kate of Aberdeen” can be found in The Blackbird, a publication that provides for the regency music lover a collection of songs of predominantly pastoral subject matter. In the poem the speaker describes a “grove” (line 18) on the last evening of April, where he waits in anticipation “till morn unbar her golden gate, / And give the promised May” (11-12). It becomes increasingly apparent that the awaited May is a metaphor for the speaker’s anticipation for the moment that Kate of Aberdeen will reciprocate his love. Evidence of this can be seen throughout the poem. For example, he devotes the entire second stanza to a description of “nymphs and swains” who “wait, / in rosy chaplets gay” (9-10) for the beginning of May, which they insist is “not half so fragrant, half so fair / as Kate of Aberdeen” (15-16). The mention of the nymphs and swains, which are often associated with promiscuity, awaiting something that he associates with love confirms that the speaker is hoping for a form of yielding on Kate’s part. He continues to exalt his love until the end of the poem, when he partakes in a “festal dance that shepherds lead” (27) as they celebrate the fact that “May in morning robes draw nigh / and claim a virgin queen” (29-30). Considering these quotes and the metaphor between Kate’s love and May, one can assume that the speaker uses dance as an expression of the reckless abandonment that one feels at the moment of yielding to love.

 

 This last scene of the poem correlates with the balls in which Bingley and Jane conduct much of their courtship, and the speaker’s sentiments in relation to this dance gives further insight into the character of Mr. Bingley. It is a pre-established notion in Pride and Prejudice that “to be fond of dancing was a certain step towards falling in love; and very lively hopes of Mr. Bingley's heart were entertained” (Austin 38). So, while considering this consensus, it is not hard to believe that Bingley’s love of dancing, particularly his love of dancing with Jane, has a major impact on his love for her in the first volume. However, it is also suggested that dancing is merely a means of furthering conversation between young people, which is an avenue for falling in love. When taking “Kate of Aberdeen” into consideration, dancing is not only a method of expressing sentiments but an actual outlet of feeling. Within the poem dance is a celebration of yielding to emotion, and similarly, Bingley uses dance as an excuse to lose control over his feelings towards Jane. While dancing with his love, Bingley is oblivious to all other distractions. In fact, during his ball Elizabeth notices that while her family is acting ridiculous “some of the exhibition had escaped his notice, and that his feelings were not of a sort to be distressed by the folly which he witnessed” (142). It is not until he is not dancing with Jane, and is thus in control of his emotions, that he allows people to dissuade him by use of reason from pursuing Jane. Through the dance and the music, Bingley “hail[s] the maid [he] love[s]” (20).

Life is Really Too Short: Wasting Time with Regency Entertainment

The Author of "Thoughts On Card-Playing" (1791) believes that, although card games are an enjoyable activity, this popular form of entertainment is nevertheless a “trifling and dangerous” (9) way to “kill time” (5). Refuting the common thinking of cards as causing inappropriate passions and an arrogant temper in all persons, the Author insists that these reactions when playing cards are only apparent in those that already possess these feelings beforehand. The Author claims that players who play at cards for good natured fun cannot be held in the same light as those that play for more deviate purposes. However, if even these well intended players should happen to devote too much of their free time to playing at cards, they are in danger of wasting their life on one single activity. As the Author states, “Life is really too short, and time to valuable, to have so large a proportion of both thus wasted” (11). The character of a card player, as is suggested in "Thoughts On Card-Playing," is more reluctant to interact and participate in conversations and other activities that do not involve cards, unlike a non card player who would be more interested in free conversations and bettering the mind, body and soul. Contrary to the assertions in "Thoughts On Card-Playing," Jane Austen’s Pride and Prejudice (1813) illustrates many examples where the characters spend much of their time enjoying these “trifling and dangerous” amusements. Also, the illustrations of when the characters are playing cards in Pride and Prejudice conflict with the Author’s claims that card-playing interferes with a person’s ability to hold a beneficial conversation. As can be seen within the novel, Austen reveals many important particulars concerning character’s backgrounds and behaviors when the characters are together playing cards. However, when taking a closer look at Austen’s Mr. Hurst and how he reacts when no one desires to play cards with him, it can be seen just how some individuals in the Regency “killed time” when their more favorable amusements were unavailable. When tea was over, Mr. Hurst reminded his sister-in-law of the card table – but in vain. … She assured him that no one intended to play, and the silence of the whole party on the subject seemed to justify her. Mr. Hurst had therefore nothing to do, but to stretch himself on one of the sofas and go to sleep. (ch. 11, my italics) Mr. Hurst, evidently, enjoys only his card and board games and does not normally partake in many beneficial conversations with the other characters. Rather than reading, which he exclaims in “astonishment” (ch 8) at Elizabeth’s favoring reading over cards, or speaking with anyone else Mr. Hurst simply goes to sleep. One could assume that, after reading "Thoughts On Card-Playing," card games were considered activities that, although enjoyable, should be experienced with discretion. A person should spread their time out among many other activities and amusements that benefited and improved the mind and soul. When compared with Pride and Prejudice this belief is secured with the many instances of characters that enjoy several different amusements such as letter writing, reading, and walks through beautiful landscapes. However, the belief is also contradicted with characters such as Mr. and Mrs. Hurst who have nothing better to do then to “stretch…on one of the sofas and go to sleep” (ch. 11) and be “principally occupied in playing with … bracelets and rings” (ch. 11).

 

The Most Elegant Collateral Embellishment of Taste

A Treatise on the Art of Dancing: “The Most Elegant Collateral Embellishment of Taste” In A Treatise on the Art of Dancing(1772), by Giovanni-Andrea Gallini, explains how dancing originated from religious ceremonies, and how important the notion of dancing was to the early Roman and Egyptian cultures. According to Gallini, “As an exercise, the virtue of dancing was well known to the ancients, for its keeping up the strength and agility of the human body” (30). Throughout the book’s entirety Gallini kept referring to the strength provided by dancing, and how it was a great form of exercise. He also stressed how important it was to be able to make your arms adapt to the of the dance. Apparently, the placement of the arms was an extremely important aspect of dancing. After going into depth about the history of dancing, Gallini went on to explain that different characters exist within dancing. These dancing characters include: “the serious, the half serious, the comic, and the grotesque” (Gallini 56). The book goes on to explain that each of these characters serve there own purpose and are appropriate for certain dances, but in order to fulfill each of these positions one must first master the steps of the serious character. In other words, a person who would be considered an accomplished dancer would be able to stand in as either of the dance characters. An accomplished dancer might also indicate a certain class, those who were “well bred” had the best dance masters and it definitely paid off in the assembly room, for they were the ones who could dance as either character. 

   

From the Treatise on the Art of Dancing I found many things that correlate directly with Jane Austen’s Pride and Prejudice. One thing that caught me off guard was when Gallini mentions dancing and first impressions, to which he states “To whom can it be unknown that a favorable prepossession at the first sight is often of the highest advantage; and that the power of first impressions is surmountable” (128). In other words, the best way to make a good first impression is through dancing. Elizabeth’s first impression of Darcy is formed while they are at the Meryton Ball, where Darcy’s lack of dancing makes an awful first impression. I also found it interesting that Gallini laid out the different characters of dancing. If these dancing character descriptions held to be true then I would say that Elizabeth had the privilege of dancing with two of these types of characters at the Netherfield Ball. Elizabeth found a serious and accomplished dancer in Darcy, and a grotesque dancer in Mr. Collins. I was surprised to not find anything about patterns of dancing and romance in A Treatise on the Art of Dancing, as this was a common correlation in Pride and Prejudice; however, the Treatise on the Art of Dancing did briefly mention that one was not to show any type of affection towards their partner. This was something that Jane abided by and almost lost Mr. Bingley over. After reading both A Treatise on the Art of Dancing and Pride and Prejudice, there is no denying that dancing had a huge impact on Regency culture. Dancing definitely held a dominant place in entertainment, for a person’s character and fate were often judged by their dancing.

The Importance of Practice

Barclay Dun’s “A Translation of Nine of the Most Fashionable Quadrilles, Consisting of FiftyFrench Country Dances, as performed in England and Scotland.”(1818) is an instructional guide to the period dances as well as an overview to the conduct of dancing as well. Dun was a dance instructor, who not only includes the actual dance steps in the book, but as well as his opinion on how to improve one’s skills. Dancing in the Regency time was for entertainment but also showed good breeding. It indicated that you were somewhat educated and showed that you cared enough about your social status to practice and know the dance steps. Young people were typically taught the dances and were required to practice as to prevent embarrassment at the ball. Ball attendance was mostly reserved for the more socially elite, meaning the upper class and upper middle class. Balls usually required a ticket or an invitation, and as a guest you were expected to dance. A proper gentleman was expected to dance with every eligible lady in the room as a way to mingle and find a mate. This is why when Mr. Darcy refuses to dance at the Meryton ball, he is considered rude and pompous. He later proves that he is able to dance; he just chooses not to dance at Meryton. This is also why he dances with Elizabeth at the Netherfield ball. At this point in the novel, his feelings for Elizabeth have begun to appear. Mr. Collin’s unfortunately is a different story.

   

 Dos a dos, or, Rumpti iddity ido : natural accidents in practising Quadrille dancing. Charles Williams 1817

Dun writes, “I cannot but deplore the disgraceful neglect that is so apparent in most dancers with regard to the proper use of their arms, as surely this is of as much consequence as the management of their legs.” (20-21) At the Netherfield ball, when Mr. Collins and Elizabeth dance, it is awkward, uncoordinated, and embarrassing. This is not only because Elizabeth detests Mr. Collins, but also because of his lack of dancing skills. Mr. Collins inability to dance is both fitting for his character and surprising at the same time. Mr. Collins is at a somewhat respectable rank, his patroness is Lady Catherine and has the opportunity to own the Bennet’s home, and he is in many ways considered a gentleman, except that he is a terrible dancer. This shows that he either has not taken the time to learn the dances or that he is simply a terrible dancer. Mr. Collin’s poor dancing skills isolate him in this scene as well as Elizabeth who is his partner. This is because he does not realize his own faults. He is out of touch with society and does not seem to care enough about how he is presented by his dancing skills. Neither of these are characteristics of a gentleman in the Regency. He is then outdone by Mr. Darcy and his dancing skills. This also shows the difference between these two men, and their social grooming. Mr. Collin’s dancing skills make him unappealing to women. After all, Charlotte Lucas marries him because he is the best option available.

"From Every Window There Were Beauties to Be Seen": The Tourism of Great Houses

William Watts, with the help of several illustrators, made the tourism of the great houses of England even easier with his The Seats of the Nobility and Gentry, in a collection of the most interesting and picturesque views. The book, which came out in parts between 1779 and 1786, was subscribed to by several pages worth of those who enjoyed seeing how the upper class lived, including the clergy. Throughout the entirety of his 191 pages, Watts describes exactly what one would see if they were to stand on the grounds of some of the most beautiful and grand private homes. For example, when discussing West Combe (a home near Greenwich in Kent), he states, “The Pleasure-Grounds around are laid out as to render them a perfect Scene of rural Simplicity” (Watts 7). He also goes on to discuss the shape of the Thames from where he stands at West Combe (it’s “Serpentine”) and the fact that many cattle can be seen grazing nearby. By listing these specific aspects of the grounds of a great home he provided the subscribers to his work a perfect picture of what they could expect to see if they were ever lucky enough to visit it. Along with the details of the grounds and of the houses he deemed fit to include in his work, he made sure to inform the reader of exactly who owned the home and had several eminent artists at the time provide illustrations to assist with the understanding of what each place looked like.

In Jane Austen’s Pride and Prejudice we really are only given one instance of tourism of a great house. When Elizabeth Bennet visits Pemberley, the home of Mr. Darcy, with the Gardiners she somewhat takes the part of Watts. She moves from window to window once inside, enjoying the shifting view of the grounds as she makes her way from room to room. “Every disposition of the ground was good; and she looked on the whole scene—the river, the trees scattered on its banks, and the winding of the valley, as far as she could trace it.” This description by Lizzy is reminiscent of the way Watts discusses the grounds of West Combe and how pleasing it would be to look upon them. When Pride and Prejudice was written, it was common for the very rich to open their homes during certain days for the public to come and view it. This is, at least partially, why Lizzy is at Pemberley. While some had the luck to be able to view such homes in person, those who could not had the opportunity to view them through another’s eyes by reading the work of Watts.

Attract Notice by the Copiousness of His Talk...

In an issue of Samuel Johnson’s “The Idler” one of the articles is about a man returning to his home town. There he encounters a visit with his family that is unsatisfying. Most of his complaints are due to lack of proper conversation, or at least, the type of conversation he desires. What this man, Gelaleddin, wants is to display himself and his knowledge in front of his family. They do not indulge him; neither do the people in the general public.

   

No one seems to agree with Gelaleddin’s idea of fun, but why not? Conversation seems to be a staple of entertainment at various visits. People enjoy talking about the latest gossip, current events, themselves, etc. Perhaps this Mr. Gelaleddin is a basis for the character of Mr. Collins, wordy and self-important. In Jane Austen’s Pride and Prejudice, there are many encounters with Mr. Collins and his inability to entertain anyone during a visit. Specifically, his visit with the Bennet family is abysmal. He is under the impression that his topics of modesty, morality, and Lady Catherine de Bourgh are overwhelmingly exciting. "Mr. Collins was eloquent in her praise. The subject elevated him to more than usual solemnity of manner, and with a most important aspect he protested that he had never in his life witnessed such behavior in a person of rank – such affability and condescension, as he has himself experienced from Lady Catherine" (Austen 103). This is only the first mention of Mr. Collins fawning over Lady Catherine; every following instance is in the same fashion, which becomes severely dull to the Bennets before the second volume of the novel. Neither of the men in these excerpts really knows how to entertain someone through conversation. During a visit where conversation, and maybe some tea, is the only pastime, they may want to try sticking with some other current events. In Austen’s novel most of the characters resort to gossip. For example, Elizabeth talking to Wickham about Darcy, Mrs. Bennet talking to Lady Lucas about Mr. Bingley, or Mrs. Bennet talking in general about who has how much money. The novel and Samuel Johnson’s “The Idler” show some similarities of the wrong ways to entertain during a visit.

Thus Does Gaming Harden the Heart and Swallow up Every Good Affection

“The Story of Poor Tricket the Gamester” is a short story published in 1795 as part of the Cheap Repository for Religious and Moral Tracts many of which were written by Hanah Moore. The Cheap Repository consists of highly morally guided tales about gambling, drinking, and debauchery targeted toward a literate but lower social class of people. These tracts were sold at a very low price to the poor indicated by the sale price for The Gamester of one penny (1). This particular story follows Tricket who is an avid gambler through his downfall, the death of his wife, and his eventual shipment to Botany Bay for convicts. The tale is hyperbolic, overly sentimental and the author uses little decorum in conveying the moral. For example, After Tricket’s wife dies having “fell in a fainting fit at his feet” over her grief for his gambling and their penniless lives the reader is treated to the sounds of the children crying “Mammy! Mammy!” (8). Then, if the reader doubts Tricket’s fault in his wife’s death we are reminded in a barrage of exclamation shortly after, “My Wife! My Wife! Come to her if you have any pity! I have killed her! Help! Help!” (8). The immorality and dangers of gambling are hammered home toward the end of the text as Tricket faces a death sentence as a result of his gambling. Don’t Worry! “Some favorable circumstances in his case were reported to His Majesty by the Judge and his sentence was in consequence changed from death to transportation” This punishment was obviously disproportionate to the crime and the intervention of the King unrealistic as Tricket is of a much lower social class. However, the goal of this tale is to bluntly unabashedly promote a certain morality and value system by its authors by scaring and shocking its readers. Clearly, this text isn’t meant to delve in the subtleties of literary technique and decorum. Perhaps, today’s equivalent to Tricket’s downfall might be the famous satirical line from Mean Girls “If you have sex, you will get pregnant, and then you will die” but for the Regency, If you gamble, your wife will die, and you will probably be sentenced to die. Gambling was of course a common form of entertainment in the Regency from lotteries to horse racing which didn’t necessitate death or the loss of your spouse

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Such is the sad story of poor Tricket the Gamester! Let each reader lay to heart the dreadful consequences of gambling: for, by first bringing a man to want, it will harden his heart even against his most beloved wife and children; and who knows whether it mat not also drivr him to those criminal acts, for which his very life may be justly forfeited to the laws of his country (15) 


In Jane Austen’s Pride and Prejudice the most obvious example of gambling in the novel, is of course Mr. Wickham. Mr. Wickham’s gambling habit tarnishes his reputation not from its mere existence but from his inability to pay his debts. His actions don’t carry positive overtones in the novel as he is eventually forced to give up his officer position in the militia and move to a different regiment due to his debts. To the modern reader, this may seem like a clear disapproval of Wickham or gambling itself, however, we see a sharp contrast in the way Austen punishes Wickham’s gambling from the way the author punishes Tricket in “The Gamester”. While Tricket’s downfall may be a more extreme example of an author signaling disapproval or conveying a moral, Austen is definitely on the less explicit end of the spectrum. Austen could have easily killed Wickham or had him imprisoned to show her disapproval of his actions, but she doesn't Austen is less explicit on her opinions on gambling, leaving the reader to navigate the morality on their own if she even intends them to at all.

"Harry Will be the Gentleman" : The Nature of Men and Their Relations with Women in Regency English Culture

F. Newberry’s The Younger Brother (1770) demonstrates the perceived actions and lifestyles of two young men in Regency English culture. More specifically, the text illustrates assumed levels of intelligence in sons Harry and Bobby, particularly in relation to womanly figures. Bobby is the younger brother and is depicted by his father as “…a perfect model of innocence and undebauched morals…” (375) whereas Harry is his eldest son. “Harry will be the gentlemen” (375). The doctor and father discuss numerous possibilities that might occur within Bobby, the younger, more naïve brother of the two, being away from home and likewise surrounded by the company of several women. Writes the doctor, “…he should be sent home a worse scholar than he now is, if his innocence once seduced he loses all sense of religion and virtue…” (375). Retorts Bobby’s father, “…I have a very good opinion of Bobby’s docility; and, therefore, I am willing to hope, that it will be no difficult matter to guard him against the seductions of the loose and vicious” (375). As also seen in Pride and Prejudice, characters like Lydia and Mrs. Bennet have a “vicious” mindset that is fixed on reeling in a man. Newberry’s story implies that the success of Bobby and Harry are perpetually linked to their attitudes toward women, and thus hinders on whether they can effectively resist these “loose” or “vicious” women as well as their seductive natures. However, it is interesting to note that there is no emphasis on the specific type of woman that Harry or Bobby should entertain, except arguably the opposite of loose or vicious, that being a woman of “amiable” nature.

Jane Austen’s Pride and Prejudice (1813) illustrates numerous romantic relationships between young men and women. Of Mr. Collins, Austen writes, “Having now a good house and very sufficient income, he intended to marry; and in seeking a reconciliation with the Longbourn family he had a wife in view, as he meant to chase one of the daughters, if he found them as handsome and amiable …” (ch. 15). Although Mr. Collins first wishes to marry Elizabeth, he quickly desires Charlotte after being turned down. On the other hand, Bingley and Darcy take their time finding and eventually marrying women, but Wickham, much like Mr. Collins, wastes no time pondering on a woman of good repute and marries the loose and wild Lydia Bennet. 

In terms of young men and their choices regarding women, The Younger Brother seemingly argues that the type of woman a man should desire is amiable, gracious and good-natured. Austen illustrates this notion in Pride and Prejudice with the tenuous courtships of Darcy and Elizabeth and Bingley and Jane. However, Mr. Collins and Charlotte marry hastily, as do Lydia and Wickham. Since Pride and Prejudice offers no further insight into any of the marriages of any of its characters, it is impossible to say what Austen’s opinion of a “good woman” actually is. Perhaps she agrees that a good woman should be of amiable nature, as seen in a character like Jane Bennet. On the other hand, Austen might just as well have believed, as she illustrates in Pride and Prejudice’s main character, Elizabeth, that a good woman should be entirely free. 

Citations: Newberry, F. The Younger Brother. Britain, 1772. Google Books. Austen, Jane. Pride and Prejudice. 1813.