Abstract
Although the aim of my study is to contextualize Austen’s later novels in terms of the fiction of the 1810s, it is nevertheless important to examine her earlier relationship with the antecedent novel market. Such an analysis is crucial to our understanding of both the mature novels and the continuous development of her oeuvre. This chapter will consequently examine three stages in Austen’s early literary career, each demarcating her development from satirist of existing literary models to an innovating author fundamentally engaged with the contemporary fictional landscape. The first section will briefly detail Austen’s early role as an interpreter of contemporary fictions, notably through her juvenilia, while the second and third sections will discuss her unsuccessful attempts to publish in 1797 and 1803.
I own I do not like calling [Camilla] a Novel: it gives so simply the notion of a mere love story, that I recoil a little from it. I mean it to be sketches of Characters & morals, put in action, not a Romance.
Frances Burney (1795)
I have received a very civil note from Mrs Martin requesting my name as a Subscriber to her Library … As an inducement to subscribe Mrs Martin tells us that her Collection is not to consist only of Novels, but of every kind of Literature &c &c…She might have spared this pretension to our family, who are great Novel-readers & not ashamed of being so;—but it was necessary I suppose to the self-consequence of half her Subscribers.
Jane Austen (1798)
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Notes
See Anna Maria Bennett, Anna; or, Memoirs of a Welch Heiress, Interspersed with Anecdotes of a Nabob, 4 vols (London, 1785), esp. I, 29–32
Isabelle de Montolieu, Caroline of Lichtfield; a Novel, trans. Thomas Holcroft, 3 vols (London, 1786), III, 225–6.
Elizabeth Helme, Louisa; or, the Cottage on the Moor, 2 vols (London, 1787), I, 17.
See e.g. Amy Cruse, The Englishman and his Books in the Early Nineteenth Century (London, Bombay, Sydney, 1930), ch. 2; Garside, ‘Austen and Subscription Fiction; Sarah Salih, ‘Camilla in the Marketplace: Moral Marketing and Feminist Editing in 1796 and 1802’, in Authorship, Commerce and the Public: Scenes of Writing, 1750–1850, ed. E. J. Clery, Caroline Franklin, and Peter Garside (Basingstoke and New York, 2002), pp. 120–35; and, most recently, Emma E. Pink, ‘Frances Burney’s Camilla: “To Print my Grand Work... by Subscription”’, Eighteenth-Century Studies, 40.1 (Fall 2006), 51–68.
For more comments on this competition between the two firms, see John Nichols, Illustrations of the Literary History of the Eighteenth Century, 8 vols (London, 1817), VIII, 493
Thomas Constable, Archibald Constable and his Literary Correspondents: A Memorial by his Son, 3 vols (Edinburgh, 1873), I, 18.
Cadell & Davies’ reluctance to publish seemingly risky works extended beyond fiction. Around the time of their refusal of First Impressions, on 11 May 1798, they also rejected an ambitious proposal made by Walter Scott for a 12-volume collection of German plays, despite having been involved in publication of his works both before and after this episode. See Jane Millgate’s ‘The Early Publication History of Scott’s Minstrelsy of the Scottish Border’, Publications of the Bibliographical Society of America, 94 (2000), 551–64.
Novels of Austen, V, xi (n. 3). For a follow up to this, see Arthur M. Axelrad, ‘Jane Austen’s Susan Restored’, Persuasions, 15 (1993), 44–5.
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© 2007 A.A. Mandal
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Mandal, A. (2007). Jane Austen and Fiction, 1787–1809. In: Jane Austen and the Popular Novel. Palgrave Macmillan, London. https://doi.org/10.1057/9780230287501_2
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