Austen 6

Language and Style

Irony and play
 Augustan
(gs tn, gs-)
adj.
1. of or pertaining to the Roman emperor Augustus
Caesar or to his age, considered the golden age of Latin
literature.
2. of or pertaining to neoclassicism in English literature
especially the early 18th century in British culture,
when writers and other intellectuals admired and
emulated the original Augustan Age
Style considered practical, elegant, witty like Alexander
Pope. Edward Ferrars tastes are more Augustan than
sentimental (reserved, steady, witty, satirical,
skeptical).
Austen has been called Augustan. But only in style and
not in denunciation of her times.
Examples of architectural style in English country in
1750-90s: neo-classical and plain lines. Sparing and
economic in design
 We love Austens voice because disembodied
she does not say I no heavy authoring self
- no body, but psyche, history, social position -
the voice was also deficient, so much so that
its overall impersonality determined a
narrative authority, and a beauty of
expression both without equal. (1).
D. A. Miller, Jane Austen or the secret of style
Princeton, 2003
 No extraneous static such thrillingly
inhumane utterance (2)
Getting rid of singularity which Lady Russell in
Persuasion says Makes the worst part of our
suffering. Its genius for detachment for
clean cuts sever us once and forever from all
the particulars of who and what we were.
D. A. Miller, Jane Austen or the secret of style
Princeton, 2003
 Henry James said of Jane Austen one of those
of the shelved and safe. People judged Austen
to be non-dangerous because sexless,
authors name a by-word for chastity.
Virginia Woolf aware of the power of Austen
as a figure of perfection. Old men resent any
slight upon her genius as if it were an insult to
the chastity of their Aunts. She is arguing
against Austen for her own fiction.
 her language is marked by a minimum of
physical action. And vigorous transitive verbs
are rare (Tanner, 36). Movements are
governed by decorum and etiquette. No
reckless or involuntary movement is
condoned. [Novel different from Ang Lee
film?].
 Action and activity recorded is seeing and
saying, thinking and feeling, wondering and
assessing, hoping and fearing (37). Like
Princesse de Clves (same position as Austen
for the French).
 Austens Novels: The Fabric of Dialogue). Lack
of I
Strong emotions put into a formulaic
structure: Emotion is thus not denied but
contained by her rhetoric (Tanner 37) (put
into a formulaic structure).
 Little shocks, surprises or alarms too much.
DEFERRAL OF GRATIFICATION no clinches,
kisses as in Jane Eyre No roughness of
dissonance of working-class speech
discordance of colloquial or vernacular
discourse . We wince when people fail to
deliver in the style of dominant discourse
 She reflects the problems of unavoidable
social change for her own class and tribe. She
is trying to make a community in which to
discuss these changes with reader. Shared
assumptions are often given: It is universally
acknowledged that (P&P)
 Free indirect speech or dialogue is where the
characters define themselves; they can be
masters of language or thought or incapable
users of the own sociolect do they repeat
or do they give it renewed force? (which
characters?)
 Extract VOL 2, CHAPTER 11

On ascending the stairs, the Miss Dashwoods found so many people

before them in the room, that there was not a person at liberty to
tend to their orders; and they were obliged to wait. All that could be
done was, to sit down at that end of the counter which seemed to
promise the quickest succession; one gentleman only was standing
there, and it is probable that Elinor was not without hope of exciting
his politeness to a quicker despatch. But the correctness of his eye,
and the delicacy of his taste, proved to be beyond his politeness. He
was giving orders for a toothpick-case for himself, and till its size,
shape, and ornaments were determined, all of which, after examining
and debating for a quarter of an hour over every toothpick-case in
the shop, were finally arranged by his own inventive fancy, he had no
leisure to bestow any other attention on the two ladies, than what
was comprised in three or four very broad stares; a kind of notice
which served to imprint on Elinor the remembrance of a person and
face, of strong, natural, sterling insignificance, though adorned in the
first style of fashion.
Marianne was spared from the troublesome feelings of
contempt and resentment, on this impertinent
examination of their features, and on the puppyism of his
manner in deciding on all the different horrors of the
different toothpick-cases presented to his inspection, by
remaining unconscious of it all; for she was as well able to
collect her thoughts within herself, and be as ignorant of
what was passing around her, in Mr. Gray's shop, as in her
own bedroom.
At last the affair was decided. The ivory, the gold, and the
pearls, all received their appointment, and the gentleman
having named the last day on which his existence could
be continued without the possession of the toothpick-
case, drew on his gloves with leisurely care, and
bestowing another glance on the Miss Dashwoods, but
such a one as seemed rather to demand than express
admiration, walked off with a happy air of real conceit
and affected indifference. VOL 2, CHAPTER 11
 A linguistic trait or structure often
used by Austen
Here in this passage Austen brings out the frivolity and
superficial nature of this purchase by Robert Ferrars who
represents a decadent and selfish class consuming in idleness.
Ferrars uses his superior financial and social position to snub
the two girls and to stare insolently at them all the while taking
his time to choose his toothpick case. Austens language shows
that she (her authorial voice) shares Elinors disapproval by
making ironic comments. She uses a technique of typical of her
in which she begins a sentence in one vein, that is, with one
meaning in mind (a kind of notice which served to imprint on
Elinor the remembrance of a person and face, of strong, natural,
sterling) and then ends it with an utter condemnation of the
figure with the word insignificance. There is an oxymoronic
effect here between srong, sterling (virile, with substance) and
insignificance (shallow, weak, empty). The grammar sets up an
expectation to disappoint it comically at the end. A typical ironic
effect often used by Austen.
 D. A. Miller, in Jane Austen or the secret of style, Princeton, 2003 says that
Robert Ferrars is putting his airs and his style before any consideration of
politeness (the first tool of society). This ornament (the tooth pick case) is
solely for personal adornment and is not part of social giving and receiving
within family or marriage. No jewellery without donation, and no
donation outside the prospect of alliance says Miller. Solely under such
regulation may it perform its proper semiotic function. A sign of required
socialization (12). Miller talks of its elegant pointless intricacy. Ferrars
seems to be pure style without meaning. Women seem to be =
competition for visual attention. Miller suggests that Ferrars as a dandy
of a fop perhaps cant perform with a woman like a self-fertilizing flower
he doesnt need to (15). Miller suggests that Austens disapproval comes
out in the irony here but is not said openly : because Austens historical
moment precedes the epistemological conquest of the homosexual by
over half a century; because her social position as a lady obliges her to
seem ignorant of certain matters. leisurely care with which he puts on
his gloves; waste which refuses to make haste . He is wasting time on
feminine pursuits (all the other shoppers are women) but this fails to rob
him of the smallest bit of male entitlement. (D. A. Miller is a writer and
critic linked to the gay community)

The authorial voice is particularly severe here filtered through the voice of
Elinot who receives his slight as a violent confirmation of his social standing
and economic power. The language reflects this disapproval and desire to to
take revenge if only in language.
 Some typical examples of the style in
Austen and its function
P. 21: Her eagerness..
P. 21: Dear, dear Morland
P. 25: They were scarcely ever without
P.27: Mariannes performance
P. 27 His pleasure in music.. (free indirect speech)
P. 33 His person
P. 37 You will soon have..
P. 97 Lucy was naturally clever
P. 197 Yes, but I did not love only him
P. 272 When Elinor had ceased to rejoice
P.275 But Elinor How are her feelings to be described?...
 Speaking true or the good use of
language: some questions
reason and constraint
logic and the rejection of excess
language and politics
what links between good use of language and
property?
what is the link between propriety and irony?
 Language and reason
Preamble:
Language as the motor of society: it can bind it together or
potentially explode it apart. Language as volatile,
dangerous and needing to be used with care. Irony as the
policing function of language - to avoid excess in language.
Reason as the guiding rule of the enlightenment. Logic and
reason which keeps in check the irrational forces of human
nature . It works against excessive sensibility or sentiment
Language is shown to be ideally guided by reason in Sense
and sensibility. Good sense is reason and language must
reflect this sense. Austen suggests however that sensibility
and sense must work together to keep society functioning
as it should.
 Language is what polices the body puts trauma or desire
into words. Legal language places seduction on an
acceptable social footing (Mariannes engagement not
publicly said etc).
Flowery language as a disguise of real motivations (Lucy,
Willoughby, seducers of Eliza.
Language and silence: lack of reason/lack of ideas can
create silence (Lady Middleton). Or great intelligence be
silent (Bradon says little). The more reasonable Marianne
becomes the less she says.
Edward keeps his WORD a reasoned promise cannot be
revoked. He sparing language but the words he uses are
true
The Palmers: language without reason (Mrs. Palmer) vs
reason with little language (Mr. Palmer)
Fanny Dashwood reasons husband out of generosity. Fanny
always uses the language of reason to combat any warmth
or generosity
 Problmatique
I wish to discuss Austens need to reveal plain
economic and social truths and the way she
does this through reason and sense. I will also
show that there is a tension between this
language of reason and a more anarchic force of
language which expresses desire and
undermines the status quo.
 Plan
1. The language of reason: reasonable characters and their
reasonable narrator defending society and its truths. A style
which expresses reason.
2. Language is prompted by desire rather than pure reason. Pure
reason will create none of the dynamic movement that society
needs: who or what allows language to operate change in Sense
and Sensibility? Less reasonable characters use language which
questions the status quo (emotional or excessive language but
also irony). Is there a gender or class question here? What is the
point of speaking out against the grain?
3. Austen admires reason but her novels are not philosophical
tracts. They function on a co-existence of the wildness or
untamed nature of what is said and the restraints the
establishment places on it. The narrator operates a language of
control. Austen uses her language reasonably to make her novels
attractive and give readers a reason to read on: romantic
excitement and uncertainty is one of those reasons