towards Gisborne, yet she clearly had no intention of putting his prescriptions into practice and giving up her involvement with private theatricals.75 Jane Austen not only acted in plays at the same time that she was reading Gisborne, she also committed the grave offence of luring children into this dangerous activity, a practice that Gisborne particularly abhorred:
Most of these remarks fully apply to the practice of causing children to act plays, or parts of plays; a practice of which parents, while labouring to vindicate it, sometimes pronounce an emphatical condemnation, by avowing a future purpose of abandoning it so soon as their children shall be far advanced in youth.76
Gisborne’s prejudice directly opposes Arnaud Berquin’s championing of the moral efficacy of family theatricals. Austen appears to have been more sympathetic to Berquin’s view, judging by her enthusiasm for private theatricals among Edward Knight’s young family at Kent. Perhaps she was rekindling memories of happier days at Steventon in her present uncertain state of home (she was to live at yet another brother’s home in Southampton before eventually settling at Chawton).
In the meantime she continued not only to act with the children, but also returned to drama writing. It may well have been at this time that, with the help of her niece Anna, she put the finishing touches to her five-act play, Sir Charles Grandison: or The Happy Man, a burlesque dramatisation of her favourite novel, Richardson’s The History of Sir Charles Grandison.77
There are two more notable occurrences that reflect Austen’s interest in the drama. There still exists in the Austen-Leigh family collection a short unidentified document, untitled and consisting of two dramatic dialogues on the business of child-rearing in the early nineteenth century. From 1806 to 1809 Mrs Austen, her two daughters and Martha Lloyd were living in Southampton, for part of the time with Frank Austen and his newly pregnant wife Mary Gibson. As was the convention, the women read novels and plays aloud. This provided Jane Austen with another opportunity for the composition of amusing playlets on the subject of baby-care and motherhood.78
In these dramatic dialogues, a first-time mother, Mrs Denbigh, is seen neglecting her child, and spending almost all of her time in the garden looking at her auriculas. She pleads ignorance in child-rearing as ‘I was just come from school when I was married, where you know we learnt nothing in the way of medicine or nursing’. The incompetence of Mrs Denbigh (and her Irish nanny) is contrasted with the sensible advice and practical skills of her friend Mrs Enfield:
MRS ENFIELD: [Endeavours to look at the back] Ah Nurse his shirt sticks! Do bring me some warm water & a rag.
MRS DENBIGH: [rising] I shall faint if I stay.
MRS ENFIELD: I beg you will stay till we can see what can be done.
MRS DENBIGH: [takes out her smelling bottle] I will try – how unfeeling [aside].
MRS ENFIELD: [applies a mild plaister] Now nurse you must change the plaister night & morning, spread it very thin, & keep a few folds of soft linen over it – Will you bring me a clean shirt.
NURSE: [going out] Yes Ma’am, if I can find one – I wish she and her plaister were far enough [aside].79
The dialogues are didactic, as they are meant to be, but the selfish Mrs Denbigh is comically drawn. Her rattling conversations perhaps foreshadow the monologues of Miss Bates and Mrs Elton in Emma.80
The other significant event in these later years took place in 1809. It was then, only two years before starting work on Mansfield Park, that Austen acted the part of Mrs Candour in Sheridan’s School for Scandal. In writing of Sir William Heathcote of Hursley Park, Hampshire, in 1898, the novelist Charlotte M. Yonge recalled: ‘His mother was Elizabeth, daughter of Lovelace Bigg-Wither of Manydown Park in the same country … She lived chiefly in Winchester, and it may be interesting that her son remembered being at a Twelfth day party where Jane Austen drew the character of Mrs Candour, and assumed the part with great spirit.’81
There is no reason to doubt this evidence. Jane Austen’s friendship with the Manydown family lasted all her life. Both she and Cassandra often used to spend the night at Manydown when they attended the Basingstoke balls as girls. Jane informed Cassandra of a twelfth day party at Manydown in her letter to Cassandra of 27 December 1808:
I was happy to hear, cheifly [sic] for Anna’s sake, that a Ball at Manydown was once more in agitation; it is called a Child’s Ball, & given by Mrs Heathcote to Wm – such was its’ beginning at least – but it will probably swell into something more … it is to take place between this & twelfth-day. (Letters, p. 160)
The postscript to her next letter (10 January 1809) suggests that she attended the festivities: ‘The Manydown Ball was a smaller thing than I expected, but it seems to have made Anna very happy. At her age it would not have done for me’ (Letters, p. 165). If this was the same party that Sir William recollected, then Jane Austen was acting in a Sheridan play only two years before she began writing Mansfield Park. This would seem to be still stronger evidence against the notion that the novel offers an unequivocal condemnation of amateur theatricals.
Jane Austen’s artistic development was clearly influenced by the vogue for private theatricals that swept Britain in the late eighteenth and early nineteenth century. Contrary to popular belief, it was not merely as a passive spectator that she was exposed to private theatricals as a young girl. Her plays show that she was actively engaged in the amateur dramatics at Steventon, and her involvement in private theatricals in Kent, Southampton and Winchester confirm an interest that was to be crystallised in the writing of Mansfield Park.
2
In 1790 Jane Austen wrote Love and Freindship, a parody of the popular heroine-centred, sentimental novel. The cast of characters includes two strolling actors, Philander and Gustavus, who eventually become stars of the London stage. As a final joke, these two fictional characters are transformed into real figures: ‘Philander and Gustavus, after having raised their reputation by their performance in the theatrical line in Edinburgh, removed to Covent Garden, where they still exhibit under the assumed names of Lewis & Quick’ (MW, p. 109).
William Thomas (‘Gentleman’) Lewis (1748–1811) and John Quick (1748–1831) were well-known comic actors of the Covent Garden Company. The roles of Faulkland and Bob Acres in Sheridan’s The Rivals were created for them, and Quick was also the original Tony Lumpkin in Goldsmith’s She Stoops to Conquer. ‘Gentleman’ Lewis earned his appellation for his rendering of refined roles. A fellow actor, G. F. Cooke, called him ‘the unrivalled favorite of the comic muse in all that was frolic, gay, humorous, whimsical, and at the same time elegant’.1 Leigh Hunt considered that ‘vulgarity seems impossible to an actor of his manners’,2 and Hazlitt’s testimony ranked him high above the comedians of his day: ‘gay, fluttering, hare-brained Lewis … all life and fashion, and volubility, and whim; the greatest comic mannerist that perhaps ever lived.’
