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Since there is no scholarship on the internal calendar and what there
is of exegesis of the novel is highly tendentious or not demonstrable,
I thought I would conclude this presentation of the calendar with a
couple of postings I sent to Austen-l about the pivotal use of Tuesday, the autobiographical
sources of the novel, and what can be learnt by comparing it to
Les Liasons Dangereuses:
The Important Tuesday in Lady Susan
The reader who has made it through the calendar may like
to see the evidence for the pivotal Tuesday brought altogether:
Tuesday is the day of
Lady Susan's major crisis in the novel: "Who should come
on Tuesday but SIr James Martin" (Penguin ed, Letter 22,
p. 74). The day that Sir James arrives reveals to the Vernons
and Sir Reginald de Courcy for the first time why Frederica
fled school. They can see she means to marry her daughter
to an amoral dolt.
It is just at this point that suddenly several days
are named and accounted for. Now we are told by
Mrs Vernon that Sir James "arrived yesterday" (Letter
20, p. 70). So now we now that the very early
morning on the next day when Frederica wrote her
note was a "Wednesday:" "I got up before it
was light -- I was two hours about it" (Letter 24,
p. 79). Later that morning Reginald confronts Lady
Susan and drives her into making Sir James leave Here is an exactly
parallel scene to that of Marianne in S&S behind
Frederica's letter to Reginald: Marianne and
Frederica write letters to the men they love on
Wednesday mornings at dawn while half-hysterical.
The truncated ending is, I suggest, the result of
Austen's family calling a halt to this amoral unpleasant
fiction. She had not intended to end it because there
is in play another Tuesday, one which occurs between
the day Sir James arrived at the Vernon home and
the day Reginald came to London (see directly
below). This Tuesday was the day Mr Johnson
intended to leave London for Bath for this health (Letter
26, p. 87). As in Persuasion, Austen
dropped this hook so as to work it out later: there
would've been ugly times in Bath. In the event,
Mr Johnson stayed.
The final crashing break between Reginald and
Lady Susan occurs on a Tuesday. We are told
that Reginald hastened to town on a "Monday"
(Letter 42, p. 100) after Lady Susan upon being told
by her to stay away for "some months" (Letter 30, p. 92).
We are told several times in different ways that
on the very same day Reginald arrived and while
Mrs Johnson was out, Mrs Manwaring forced her way
into Mr Johnson's drawing-room and was closeted
alone with him and Reginald. On the next day,
Tuesday, Reginald writes his note to Lady Susan
telling her he now knows the truth (Letter 34, p.
95, beginning "I write only to bid you farewell"),
to which she replies on the same day (Letter
35, p. 95, beginning "I will not attempt to describe
my astonishment on reding the note, this moment
received from you ..." ). If you work out the calendar,
you discover the Tuesday that Mr Johnson had
intended to go to Bath is this very day: so it's
a bad Tuesday twice-over.
This second Tuesday confirmed over and over.
We are told by Mrs Vernon that Reginald came to
Parklands on "Wednesday;" Lady Susan
actually arrived on the same days, and stayed
for "two hours" but was only able to take Frederica
away with her (Letter 41, p. 99).
What follows is a series of postings I wrote to Austen-l
long ago. At the time I was convinced the novel was
influenced by Les Liaisons Dangereuses
and Julie, ou La Nouvelle Héloïse. I still
think so; the different today is that I think Austen's
novels belong to a tradition of French and English
novels and have all been influenced heavily by
French novels either in translation or in the original
language.
December 7, 1996
Lady Susan: In the Background
I'd like to agree with Dorothy Willis that it is probable
the "sources" for Austen's portrait of a vicious woman
were drawn from life as well as books. This is after
true of most artists and most characters in novels;
characters are an amalgam of the author's imagination
and memory, of invention and imitation working upon
experience. What seems most interesting to me
is that on first blush the story of Lady Susan is not
very like that of Mrs Craven; yet the spirit of Mrs
Craven as remembered is very like; contrariwise,
the story of Madame de Merteuil on first blush is
very like that of Lady Susan while the spirit of
the two characters seems animated on different
principles.
I hope I am not repeating Dorothy's posting (which by
mistake I deleted) but seem to remember she omitted
who first told the story that Mrs Craven was "the
inspiration for Jane Austen's Lady Susan Vernon."
My source for this is George Holbert Tucker's Jane Austen The Woman.
He says the primary source
for this idea was Mary Augusta Austen-Leigh, a
great niece of Austen's (daughter to James-Edward,
he of the 1870 Memoir). Further, Tucker is also
careful to tell us that Mary Augusta "got" her
account of Mrs Craven from her aunt,
Caroline Austen's Reminiscences and Caroline
Austen made no mention of the supposed
connection between the fictional Lady Susan
and Mrs Craven as remembered by Caroline and
Mary Augusta. I'd like to add that reading the
account myself Mrs Craven seems a bit too
much of a real life witch, not that there aren't
people who are sadistic and mean (Tucker's
words). So as with trying to investigate and
solidify an argument that Les Liaisons Dangereuses
is a "source" for Lady Susan we run up against
problems when we investigate and try to nail
down as iron-clad an argument that Austen had
the Lloyds' grandmother in mind when she
wrote Lady Susan.
Dorothy told us how Mrs Craven made her daughters act
as servants for her; how they were "sometimes
not allowed proper food, but were required to eat
what was loathsome to them, and were often
relieved from hunger by the maids privately bringing
them bread and cheese after they were in bed."
The daughters fled to marriage with men beneath
them in class and with little money. This is not
the plot of Lady Susan, is it? It's only when we think
about it afterwards that we say, ah, here is
a woman who is vicious to her daughters,
and here is Lady Susan who is vicious to
Frederica.
I already went over the problems in trying to show
that Austen read Les Liaisons Dangereuses.
The plots though have some striking similarities.
I would suggest that it's not just a question of
a coquet in one novel resembling a coquet in
another. Both Austen and LaClos are determined
to show us corrupt older women who carry on
love affairs with younger men (of course LaClos
is far more daring and his Madame actually
had an affair with Valmont before the novel
opened; Austen only suggests an affair is
in the offing, or a marriage, if Lady Susan
can pull it off); both show women determined
to sell young girls to men; both find that the
younger lovers they meant to make use of
fall in love with a young girl they had meant
to sell (again LaClos's story is much more
daring, for corruption here includes
deflowering one girl related to Madame
and living with her, and seducing another
married woman upon whom Madame wants
to take revenge). The triangles are alike.
It is really not a forced comparison at all.
On the other hand the spirit behind the two
books is utterly different. It is fair to call
LaClos's book nihilistic; LaClos believes
in the utter amorality of all people; we can
be divided into predators and preyed-upon.
Some of us (MMe. La Presidente, the married
one Valmont corrupts and who falls in
love with Valmont and he with her) may
believe in morality, but that's because we
are fools, blinded, and therefore all the
more vulnerable. I would say it's not so
much the sex--after all we could say
Austen is as daring as she dared to be
given her sex, who she was dependent upon,
her class, and so on. It's the moral that's
different. It may seem in these opening 10
letters that Lady Susan is not heavily
condemned nor punished, but she will
be. I have always taken the small-pox
visited upon Madame de Merteuil at
the end of Les Liaisons Dangereuses
as a kind of joke, a final sardonic fillip
on the part of the author to his sadistic
character (he gets his kick too), and a sop to
the audience.
I'd like to remind those who are still reading
of the article by Roger Shattuck in The New York Review of Books in which he
argued for a French erotic tradition in
which the female character learned to
renounce sexual enthrallment. I think that
Austen's Sense and Sensibility was
written "in" that tradition. Well I have come
to believe with Chapman and others that
S&S was originally written as an early
work called Elinor and Marianne, probably
epistolary, and then rewritten as S&S
in 1797 in probably epistolary form still;
it was during the interval between these two
writings that she wrote Lady Susan
at least so says Southam and Chapman
agrees perhaps. So I submit that Lady
Susan belongs to the same tradition.
It began in English with Clarissa which then
influenced the French (Rousseau's La Nouvelle Heloise &
Les Liaisons Dangereuses among
others) which then influenced the English.
Austen turned her E&M and S&S into
the finished omniscient narrative we know
today; she backed away from the harder
tale, Lady Susan which is part of the same
tradition. It also takes into its "maw" Austen's
own life experiences and perhaps accounts
she heard from Martha and Mary Lloyd of the
shameful bully (Tucker's words again), Mrs
Craven.
December 9, 1996
Les Liaisons Dangereuses and Lady Susan
In response to the speculation about the relationship
between LaClos's famous epistolary novel and Austen's
Lady Susan, I'd like to say that one, there is no
documentary evidence Austen ever read La Clos.
But then there wouldn't be, would there? This is
a book which even today is startling in its
sardonic celebration of power and amoral sexuality.
The first letter of Madame de Merteuil (the second
in the volume), to her ex-lover Valmont, opens
thus:
"Revenez, mon cher vicomte, revenez...
j'ai besoin de vous."
She has a project for him; she wants him to corrupt
a young girl in her charge (deflower her to be exact)
so she can use this girl as she pleases, sell
her to the highest bidder. Valmont is a younger
man than she as De Courcy is younger than Lady
Susan.
Jane Austen had the French to read this one; in her
letters she quotes other French books; Madame de
Sevigne was a favorite of the period. It was also
in its own time recognized as a knock-off from
Clarissa. (One of the more interesting things about
the BBC movie of Clarissa is that the director has
the actor who played Lovelace play it as if he
were a ruthless Valmont; the film is as much influenced
by the movie made of LaClos's Les Liaisons Dangereuses
with Malkowich as it is of any critical reading
of Clarissa.) Was it available in English? I don't
know [obviously I hadn't come across the 1784 translation
printed by Hookham when I wrote this]. I know books in French were almost as
a rule translated into English very quickly; French
literature was enormously popular and influential
in England throughout the 18th century (and
vice versa -- Prevost of course "did" Clarissa
& Grandison into French; it's worth saying
that Austen's first three novels were translated
into French very quickly). La Nouvelle Heloise
sold as The New Eloisa everywhere, and
was wildly popular. However I have a list of
French sentimental fiction which lists hundreds of
translations by one Josephine Grieder; it is not listed
there. Many many epistolary
novels in French were translated.
But it needn't have been translated; it
was published in 1782 so it's possible Austen
knew it, and as younger girl she had her rebellions
and avid curiosities too; she clearly knew Gothic fictions
which are very sexy (e.g., The Recess).
LaClos was in London in 1789. But another factor is
LaClos was connected to the revolution, an Orleanist,
and later became a Napoleonic General. It wouldn't
do to be seen reading his books during the Napoleonic
wars. That he was infamous and well-known is
suggested by his tomb in 1815 being destroyed
on the return of the Bourbons. They went for it
as a something they needed to root out. (He died
1803.)
Maybe it was just too daring ever to mention or
even read in front of others or even be caught
reading by someone like Austen. We don't
know that she read Mary Wollstonecraft for
the same kinds of reasons. We should
here remember it was Henry Austen boasted about
Austen's knowledge of Sir Charles Grandison;
the only way we know for sure that Austen read
Clarissa is she gives a salacious dolt in Sanditon
a passage in praise of Clarissa's amorality.
Still while some of the above suggests one can't
rule out Austen read it and that if she did we
wouldn't be told about it, it also suggests it
is possible or perhaps even probable that the
striking analogy between
the character of Lady Susan, a woman with
all the makings of a dominatrix and the character
of Madame de Merteuil is coincidental; but if it
is, it still tells us about how unusual this conception
of Austen's is for her. Henry James used it for
his Madame Merle in The Portrait of a Lady.
Maybe Austen's genius just hit upon the same
configuration. She went for the jugular in
embodying the female predator insofar as a
young girl could--for she was young when she
wrote this.
I would see the analogies with Wilkie Collins
as further individual imitations of a type
that emerged out of the school of Clarissa
(if I may be permitted the phrase). What I
liked about the Becky Sharp analogy was
Becky is gay (in the original sense of the word),
light, witty, and while Lady Susan's behavior
is certainly anything but funny or light when it
comes to her daughter, the vein Austen has
hit upon is not redolent of dark sensuality
in the manner of LaClos but more a matter
of a moral inversion out of an austere morality
much like Thackeray's, though Thackeray
is more forgiving of his Becky than I think
Austen means us to be of her Lady Susan.
December 11, 1996
Les Liaisons Dangereuses
In response to Elizabeth James I'd like to say I
am fascinated by the parallels she sees between
MP and Les Liaisons Dangereuses. Someone
on this list showed me a paper where she compared
Fanny Price to Clarissa Harlowe and I have always
been struck by some parallels between the ways
Henry Crawford seeks to win Fanny's heart the
the ways Lovelace seeks to win Clarissa's. Lovelace
is also generous to his tenants and a decent
estate manager.
My view would be that both Les Liaisons Dangereuses
and MP are "children" of Clarissa. Richardson's
novel was and in a way still is phenomenally influential.
Rochester is a chip off Lovelace with a good deal
of Byron thrown in for good measure. Daphne
Du Maurier's Rebecca belongs to the family.
Anita Brookner's novels are
recent progeny and ASByatt's Possession is the
old letter novel reborn once again. A packet of letters
is at its center. Natch. But of course the direct
children of Clarissa are much closer to one
another than their 20th century rebirths. So I
would say to Elizabeth there are all sorts of novels
in the eighteenth century
which have similar kinds of characters and
situations to that we find in Clarissa, Les Liaisons Dangereuses,
and MP. Lady Susan is one. Another is the Marianne story in S&S.
For a start in finding other titles and an enjoyable
book to read I'd recommend JMS Tompkins's
Popular Novel in England, 1770-1800.
One curious parallel I saw in the character of
Manwaring who is described as a "tender and liberal
spirit... impressed with the deepest conviction of
[Lady Susan's] merit, is satsified that whatever [she
does] must be right; & looks with a degree of
contempt on the inquisitive & doubting Fancies
of that Heart which seems always debating on the
reasonableness of it's Emotions." Is not this a
version of both Marianne and her mother? They
both accuse Elinor of being suspicious, wary,
not candid; the mother ironically says to Elinor
that if she saw Willoughby at an altar she
might suppose Willoughby was about to be
married (or words to this effect). Well its "source"
is Rousseau and La Nouvelle Heloise. The sentimental hero
is Saint-Preux; he is just this kind of deeply trusting
person who follows his heart. So.
Manwaring is not a Valmont or Lovelace;
he's a son of Rousseau, brother in this
to Marianne Dashwood.
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