Inspired by a comment I made to the blog of Sherwood Smith (
sartorius).
He had written:
There is an entire subgenre, called Regency romance, that is largely built on Georgette Heyer's own alternate London.
and I replied:
Which is in turn largely built on Jane Austen's impression of Regency England. Here we have a different problem: Austen, who wrote
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In all Austen's works, the word "ton" appears once. When Sir Thomas in Mansfield Park says it's not a clergyman's place to set fashion in it. Austen does not have her eye on highest society.
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Jane Austen also avoided the "title inflation" too common in most current Regency Romances. Higher nobility were actually quite rare in c. 1800 Great Britain: note that Jane Austen's characters generally marry men at most related to actual noblemen (and thus higher gentry rather than nobility).
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I think most modern readers of Regency romances understand entailment, at least roughly -- it's a very common plot point, so it comes up a lot. Understanding why all of the matters of honor and reputation were so important is another matter entirely. :/
I do think it's telling that modern remakes of many classics -- Clueless for Emma, Ten Things I Hate About You for Taming of the Shrew, and so forth -- set the stories in high school. Because modern high school is the closest analogue to the kinds of things that these stories obsessed over: if you make modern adults concerned about these plot points, people will think your characters very shallow indeed.
I am very glad I do not live in any prior point in history.
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set the stories in high school… because
I continue to be impressed by the shrewdness of this observation. People of centuries past were immature in ways that grandiloquent Shakespearian dialogue only conceals but does not improve. True, they didn't live as long on average, but even people we would consider grown adults often behaved childishly or for childish reasons.
[Part of the appeal of the original Star Trek was its conceit that humanity would continue to mature, such that even the conflicts of the 20th century would be seen as no better than the wars of medieval times, which were little more than playground bickering with deadly weapons. “Armed conflicts should be no more than a matter for the police,” as Arthur Clarke put it.]
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Also, living cheek by jowl with death tended to change their outlook. Death was near always, and it wasn't pretty. We have fluffy, sparkly vampires. Theirs, particularly the one based on Lord Byron, were an encapsulation of societal ills. They might be seductive but make no mistake, they were doom.
And there was the rather serious matter of religion to the middle class, especially. It was at a bit of an ebb in the Regency but was soon to rebound. Can't discount it entirely, particularly in the years post-Regency and modern critics do. Jane Eyre without the religious aspects is not the same book. O, she was a touch critical of the hyper religious but it's clear that faith was very important to her. Indeed, it's a plot point.
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Indeed. Death is less seductive when one runs a serious risk of dying in agony before 60-70 years old, even if one lives into adulthood. A lot of the assumption, common throughout all preindustrial civilizations, that women cannot combine motherhood and professional careers, is comprehensible when one considers the likelihood of dying in childbirth, coupled with the burden of tending for sick children. That Jane Austen was able to be a great writer was not unconnected with her old-maid status, and despite the lack of stress from chilbearing and the fact that she was never actually poor in adulthood, she died in considerable pain at age 41, from a disease that we could now treat easily.
And there was the rather serious matter of ( ... )
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(Used two synonyms in Persuasion to be sure.)
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Not that Jane Austen was really as naive as some people, particularly her brothers, probably imagined her. There's no way she could have grown up around a naval family and not at least heard of, not to mention occasionally witnessed, the seamier sides of life in port towns.
Polite people just didn't talk openly in mixed company about that sort of thing, that was all. It didn't mean that they didn't know about it.
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Hmm, I wonder if anyone ever wrote a Hornblower crossover where he meets Jane Austen? They'd be about the right ages to interact, amusingly, given the fact that both were (one in real life and one in fiction) classic Deadpan Snarkers :D
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I do believe this to be the best entry of yours that I've yet seen.
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