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• W14498083 abstract "Priscilla Gilman is an assistant professor of English at Yale University: She is currently at work on a manuscript entitled Beyond Power of Criticism: Authorial Invulnerability in Later Eighteenth-Century and Romantic Literature. ********** IN 1811, TWO YEARS BEFORE Pride and Prejudice appeared, British author and critic Josiah Conder published Reviewers Reviewed, a pamphlet documenting newly powerful influence of literary criticism: Criticism has of late years been gradually assuming a new character. It is no longer study or pastime of a few. Its dominion is no longer confined to speculative regions of taste, and scholastic learning: but a new power has sprung up under this name, whose pretensions embrace all various subjects of human opinion, and whose influence is felt in a greater or less degree through all orders of society. (Ferris 26-7) Conder here attests a widespread cultural phenomenon. Over second half of eighteenth century, critical reading had become professionalized and institutionalized in major review journals as system of determining value of literary works. In addition, now vast reading public begins to read criticism along with, and even instead of, literature, and critics increasingly mediate between writers and readers. They direct reading process. They influence purchasing decisions. By time that Austen is writing and beginning to publish, critics are, as Byron put it, monarch-makers in poetry and prose (Byron, Letters III 209). Blackwood's Magazine, one of leading literary periodicals of day, described early nineteenth century as the most critical age ever world produced (206), and one year before Pride and Prejudice was published, Byron declared, is age of Criticism. For first time, in a massive sense, criticism seems to be everywhere, and writers felt need to take account of it. Fanny Burney actually dedicates Evelina to editors of Monthly and Critical Reviews, and Wordsworth adds increasingly lengthy prefaces to Lyrical Ballads in an attempt to shape volume's reception. Harsh reviews of her poem Eighteen Hundred and Eleven in that same year ended Anna Barbauld's career as a writer, and Keats is famously snuffed out by an article, killed, as Shelley imagines it, by the savage criticism on his Endymion. (1) One would expect Jane Austen, writing at peak of this development, to react to criticism in some overt way. But in fact, Austen demonstrates remarkably little obvious concern for criticism. Unlike her contemporaries, Austen doesn't refer to reviews or criticism in her letters, and perhaps most notably, she doesn't use all conventional devices for defending one's work--epigraphs, dedications, prefaces, introductions, footnotes--all are conspicuously absent from Austen's major novels, with a very few exceptions. (2) This lack of framing devices, or what French critic Gerard Genette has called paratext, is especially remarkable in work of a female author. Because they seemed especially vulnerable to power of disapproving male critics, women authors resorted more frequently to framing devices, in particular to what two critics have called pleading preface (Thompson and Ahrens), which provided them with a space to apologize for and defend their venturing into print and to solicit approbation for their work. (3) Writing in age of criticism, Austen seems unconcerned. And yet as we all know, Austen's novels are in another sense about nothing but criticism. Just to look at titles--Pride and Prejudice, Sense and Sensibility, Persuasion--is to see this, to appreciate just how finely tuned to critical judgment Austen is. Unlike most of her contemporaries, Austen rarely discusses reviewers directly, either privately or publicly (the defense of novels in Northanger Abbey being significant exception), but her novels, and especially Pride and Prejudice, center on relationship between those who judge and those who are judged. …" @default.
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• W14498083 date "2000-01-01" @default.
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• W14498083 title "Disarming Reproof: Pride and Prejudice and the Power of Criticism. (Conferance Papers)" @default.
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