by Jane Austen
17. Horseback riding was not very common for ladies (it became more so later in the nineteenth century); only a few female characters in Austen’s novels engage in it. Mary would be especially unlikely to have pursued it previously, since she has mostly lived in London until now.
18. Meaning either the stable at Mansfield Park or the one at the parsonage.
19. A coachman was the servant who drove the family’s carriage(s), which could mean carriages other than a coach. He also frequently took care of the horses, those used for carriages and those used for riding.
20. This is the main entrance to the house. While “hall” could refer to a large room within the house, it most frequently meant (especially when preceded by “the”) the one where people entered.
21. demesnes: lands. In this case the lands, including the meadow referred to immediately below, are the glebe lands that, like the parsonage, come with the clerical position that Dr. Grant holds.
22. The village road leads from the village. The description indicates that the parsonage is a little removed from the village; in the previous chapter Mary said she saw and encountered farm yards all around her residence. Many, though by no means all, parsonages were situated thus, including the one where Jane Austen lived when young.
23. Grooms are servants who take care of horses. They have taken the horses out of the stable, have perhaps helped some people to mount, and are ready to assist further if needed and to take the horses back once the ride is finished.
24. His coachmanship is his skill in driving a carriage. It is soon apparent that Henry drives his own carriage; other young men in Austen’s novels do this, though their carriages are smaller than Henry’s barouche.
25. in comparison of: compared with.
26. This passage marks the first signs of Fanny’s jealousy of Mary Crawford, which will continue for most of the novel. It also shows the author taking a more critical stance toward Fanny by showing how she, in order to avoid admitting her jealousy, first criticizes Henry Crawford for not helping his sister, and then pretends that her objection to the scene results only from concern for the mare.
27. Mary’s final comment shows her cleverness and wit, but it also shows her using humor to rationalize a bad action and to disarm criticism.
28. She could have dismounted near the parsonage and let Edmund walk the horse back alone.
29. This passage gives a good sense of servants’ language. As with lower-class language in general, it involves simpler sentences and grammatical errors. It also contains the use of the Lord’s name, which was considered improper, and frequent use of exclamation points, whereas genteel speech was supposed to be restrained and, ideally, understated. Jane Austen does not give many examples of lower-class speech, but those she gives display similar features, ones she would have noticed from her own experience. At the same time, she does not caricature it or make it sound ridiculous, unlike many writers of the time who introduced lower-class characters for the purpose of comic relief and had them speak in an exaggerated or grotesque style.
30. neat: of an elegant form; well made and proportioned.
31. A common was a piece of land owned by the lord of the manor, who was usually the leading landowner in the area (Sir Thomas in this case), but which others in the community have the right to use for various purposes, such as grazing animals. Traditionally most places had commons, though the enclosure movement of the late eighteenth and early nineteenth centuries was causing many commons to be converted into purely private land that could be cultivated more productively by the landowner; this often caused hardships for poor people who had gathered material for fuel or used the commons in other ways. The commons tended to be mostly open land, which is why in this case it offers fine views.
32. From this point on in the novel, Fanny will frequently be alone and therefore forced to rely on her own resources. Edmund will still help her at times, but his absorption in Mary distracts him much of the time. This new situation will lead to a number of tests of Fanny’s character.
33. answered: was satisfactory.
34. That not being invited to dinner would so severely tax, or try, Maria’s good manners indicates a flaw in her character; it also shows her preference for dining with Henry Crawford over Mr. Rushworth.
35. Wealthy people tended to keep late hours, while those who could not easily afford artificial light and who had to work long hours rose early to take full advantage of daylight and rarely stayed up late. Edmund and Julia would be especially likely to stay out late in the summer, when England’s northerly latitudes cause the day to be very long.
36. Drawing rooms in wealthy homes were very large, since they were often the principal gathering room in the house; for examples of large drawing rooms of the time, see this page and this page.
37. Reclining on a sofa, especially for a long time, was believed to be a sign of laxness and self-indulgence. Traditionally it was considered improper for anyone not sick or physically incapable to do other than sit up straight when not standing. This attitude had relaxed somewhat in the decades leading to this novel, part of a general relaxation of social formality that led to sofas emerging as a popular piece of furniture in England. But the traditional attitude still held much force.
38. The poor-basket contains materials that could be used to make clothing for the poor; Fanny could help with it if she has no needlework of her own. Charity to the local poor was a basic duty and activity of the wealthy then, especially women.
39. Calico is a type of cotton cloth originally from India that in the last part of the eighteenth century began to be commonly manufactured and worn in England. It is a relatively sturdy cotton, in contrast to the lightweight muslin that was even more popular then, so it would be a useful material to make items for the poor (though it also could be used to make fine clothes).
40. Cloth was purchased in large pieces, which would then need to be cut and sewn into clothes. Wealthy people hired others to do this, but Mrs. Norris’s cheapness and love of activity make her inclined to do it herself.
41. trick: capricious or thoughtless act.
42. Mrs. Norris will continue meting out such abuse on Fanny, who is the only non-servant who is clearly below Mrs. Norris in status, especially now the Bertram children are adults.
43. Roses, which have been widely cultivated since ancient times, have long been popular in England.
44. Many gardens had alcoves, which meant any covered retreat, whether constructed or formed by trees.
45. This is the only time Lady Bertram is ever described going out of doors, except on a couple of occasions to travel to another house. Here all she seems to do is sit in the shade while Fanny cuts roses; the three-quarters of an hour for that activity was probably stretched into her being out “above an hour” by the time spent in walking to the flower garden and back—and such gardens were normally close to the house.
46. full blown: fully in bloom or blossom.
47. might not be: may not have been.
48. Books of the time use the term “aromatic vinegar” to refer to various substances made from vinegar, used to purify rooms rife with foul odors or disease. The Encyclopaedia Britannica provides one recipe (also given in a leading medical guide) that involves soaking rosemary, sage, lavender flowers, and cloves in vinegar for a week and then straining the liquid, which is “sometimes given as a stimulus.”
49. Parks usually consisted of substantial tracts of open grass, so they would become hot on a sunny day in summer.
50. Mrs. Norris is avid for the cut roses because they were used for a variety of practical purposes. The petals or the rose hips formed a key ingredient in some medicinal remedies as well as perfumes or cosmetics; they also were used to flavor sweet dishes or to make syrups, conserves, and jellies.
51. This is presumably the same spare room that Mrs. Norris insisted she needed to keep empty for the sake of a friend who might visit (see this page). If so, it is an indoor room, which would not necessaril
y need to be locked. Mrs. Norris may keep it always locked due to suspicion of her servants, or she may wish to lock it now because she considers the roses too valuable to leave unsecured.
52. The dairymaid is called his mother’s maid because the dairy was often the province of the lady of the house (see this page, note 43, and the picture on this page). Given Lady Bertram’s indolence and Mrs. Norris’s busyness, the latter probably manages it, which is why she concerns herself with the dairymaid. Mr. Green, who is never mentioned elsewhere, may be the steward who supervises the estate; Mrs. Norris would not call someone of low status “Mr.”
53. John Groom may not be his actual name; he may simply be a groom named John. Lower-class people were sometimes referred to in this manner; in Emma a character speaks of John ostler, though in that case “ostler,” which is someone attending horses at an inn, is not capitalized. This usage, even more common in earlier times when poor people often did not have last names, makes clear how a large class of English surnames, such as Smith or Taylor or Cooper, developed. In this case John Groom likely works on the estate and is seeking employment for his son with Mrs. Jefferies, whose title indicates she is of high enough status to hire someone to work for her. Helping relatives of one’s servants get jobs was standard practice and is something other characters in Austen’s novels are shown doing.
54. This reveals that the village is closer to Mansfield Park than the parsonage, which was recently described as half a mile away (see this page).
55. knocked up: exhausted, overcome with fatigue.
56. being stooping: stooping. This construction, an older grammatical form, is used elsewhere in Austen’s novels.
57. candid: impartial, just.
58. Among the wealthy supper was a light meal, since it came after a dinner, the big meal of the day, which was served at four or five or even later for the very wealthy and fashionable. Hence supper has been brought into the drawing room on a tray.
59. Madeira is wine from the archipelago of that name in the Atlantic. It was popular in England then; one reason was Britain’s close commercial ties with the owner of the archipelago, Portugal. Wine was often used as a restorative.
VOLUME I, CHAPTER VIII
1. started: proposed, introduced.
2. It is now early August; see chronology, this page.
3. Mrs. Rushworth has already asked the ladies at Mansfield Park, but it would be proper for the invitation to Mr. Crawford to come from another man.
4. Comfortable: encouraging, reassuring.
5. prosing: tedious.
6. Good manners, especially for ladies, would dictate resisting an invitation at first in order not to appear too eager. On the next page Mary Crawford, who does wish to come, waits to accept until she has been pressed a little.
7. drawback: diminution.
8. been at the trouble of visiting: taken the trouble to visit.
9. This means Mrs. Grant’s coming into the neighborhood. She may have decided that Mrs. Rushworth lived too far away. Whatever the reason, she has not visited Sotherton and thus is a prime candidate for an invitation.
10. The box is the seat in the front of the carriage on which the driver sits; it is large enough for a second person. For a picture, see this page.
11. A chaise is an enclosed carriage that seats three people, all facing forward (for a picture); the largest of all carriages then, the coach, is also enclosed but seats six, with three facing forward and three facing backward. Though Edmund calls the chaise his mother’s, it is probably a family carriage (Lady Bertram travels little, even around the neighborhood), but because Sir Thomas is currently absent, its ownership is attributed to his wife.
12. A post-chaise, strictly speaking, means a chaise used for traveling post, the main method for long distances (for an explanation, see this page, note 22). The chaise was the normal carriage used, since its being enclosed meant protection from the elements and its small size meant it required fewer horses than a coach. Because chaises were used so often for travel, the term “post-chaise” was sometimes used to refer to any of them.
13. Since a barouche’s top opens, it would be more suitable for warm weather.
14. Carriages suffered serious wear and tear on the mostly dirt roads of the time, and could need extensive repairs; moreover, horses would eventually exhaust themselves from work and have to be replaced. Hence any trip would impose some cost.
15. An earlier passage described the roads to Sotherton as “indifferent” (see this page). The coachman would not wish the carriage to be scratched, since he is in charge of maintaining and repairing it and since, in part because of this responsibility, he takes pride in the vehicle.
16. Carriages, which could be highly decorated in various ways, were normally painted and then varnished to preserve the paint.
17. Wilcox, the coachman, is called by his last name because he is an upper servant. His employment despite his age and, if Maria’s charge is accurate, his incompetence would be typical. The ethos of the time dictated that longtime servants, in return for their service and their deferential devotion to their employers, be cared for and, if possible, employed as they aged.
18. The plan is for four passengers in the barouche: Maria, Julia, Mary Crawford, and Mrs. Norris. If one can sit next to Henry as he drives, then Fanny could join the other three in the main part of the carriage.
19. attention: formal courtesy.
20. give him the hearing: listen to him.
21. It was earlier stated that he attended her out, which would have meant going through the hall.
22. Julia could be expected to offer, since, unlike Fanny, she presumably saw Sotherton on an earlier family visit, and since she, as a woman, would be a more logical companion for Lady Bertram than Edmund.
23. Mrs. Grant was earlier described as wanting Henry to prefer Julia, so she naturally promotes their riding together. Women did not drive carriages often, and when they did, would use ones smaller than a barouche.
24. value: liking, regard.
25. The carriage would go at least as fast on level ground as Edmund does on horseback, since, while much heavier, it would be pulled by multiple horses. But a carriage would slow much more while going up a hill, allowing him to reduce the gap. A similar phenomenon can be seen on modern highways when heavy vehicles like trucks slow down ascending an incline.
26. The carriage’s being open means an unencumbered “prospect,” or view, of those driving in front, and Maria and Mrs. Norris are the two facing forward; Fanny and Mary have just been described as looking back toward Edmund. The former two probably claimed their position, which was regarded as superior due to the possibility of motion sickness in carriages, because of their greater age and social position; by now Maria may have come to regret the choice.
27. That is, her sense of propriety barely enables her to control or suppress her irritation.
28. burst: view that suddenly opens up.
29. It is notable that her “Rushworth-feelings,” in contrast to her “Crawford-feelings,” seem to be inspired almost completely by the man’s possessions and social positions, rather than his character.
30. A capital mansion is the principal residence of the owner: many wealthy landowners had multiple properties and homes but would primarily reside in one; this was the case with Jane Austen’s brother Edward, who inherited a wealthy estate from distant cousins. Freehold property is owned outright, in contrast to copyhold property, which is held under lease. Both capital and freehold status would add to the value of a mansion.
31. A manor meant land that has tenants on it, which almost all large landholdings did; it also could refer to an older feudal status, in which land was held in trust from the king and the owner had certain legal rights over its tenants. “Ancient manorial residence” would suggest this earlier status of the estate as well as the antiquity of the house.
32. These were two rights held by the lord of the manor under the old feudal arrangements. He was empowe
red to hold a court leet, usually annually or semiannually, presided over by him or his steward; it judged petty offenses and could also exercise supervision over local matters like rules for the use of land or selling goods. A court-baron (derived from an early meaning of “baron” as one who held something, such as a manor, from the king) decided civil disputes between tenants; the lord also had jurisdiction over it. Both courts were gradually superseded by more regular law courts and by the time of this novel were mostly historical memories. Nonetheless, the earlier possession of these rights would add significantly to the prestige of a family and its estate.
33. That they have already been traveling through Mr. Rushworth’s property before reaching the village, which is still some distance from the mansion, suggests the extent of his holdings.
34. The cottages are the residences of laborers and other poor people, likely to present a dilapidated or unattractive sight. During the late eighteenth century, and continuing into the nineteenth, many landowners rebuilt local cottages, or in some cases even entire villages. This was done from concern for the welfare of the residents but also from a wish to make the buildings near or around the estate look more attractive and picturesque. Maria may already envision such a rebuilding effort once she becomes mistress of the estate.
35. This period witnessed a growing interest in church architecture, both exemplified and spurred by a number of books about architecture, especially that of churches, that appeared after 1800. Two series by the same publisher, Architectural Antiquities of Great Britain and Cathedral Antiquities, enjoyed wide success. They were accompanied by elaborate engravings of their subject matter, as were many books in this period; for an example, see the illustatrion on this page. This interest was connected to a growing interest in Gothic architecture of earlier centuries, the style in which most of Britain’s grandest cathedrals and many of her ordinary churches had been built.