of Maddalena Ferrari
It These three short pieces, "Lady Susan" concluded an epistolary novel, the two other sketches just begun, made at different times and published only after the death of the writer. First, unlike the novels of the same kind of other authors who preceded him, is not the confession (almost exclusively) of a protagonist, but the collection of letters from various people involved, with a lattice structure, which gives different perspective to the story, with a conclusion of the author, critics place him, though without absolute certainty, in the years 1793-94.
The second was started in 1804 and discontinued due to sad family events (illness and death of the father of Austen).
The third is instead attributed to the last period of life of the writer, whose illness forced her to stop putting it together.
The environment is the usual fiction of Austen : the bourgeoisie and the gentry house, with a rigid class divisions, strict observance of the conventions and formalisms (where "Sir" "Lord," "Lady," "Mr.", "Mstr", "Miss" are the epithets that always precedes a surname, or name, unless the story does not relate closely, or, protagonist, more rarely, a male, in which case it shall be the first name altogether.
" The Watsons" and "Sanditon" have two female characters, respectively, Emma Watson and Charlotte Heywood, who have the characteristics of the typical heroine of the author: reliability, insight, rationality, sensitivity, willingness to reach a 'self-identity and tenacity in pursuing the goal.
In the case of "Lady Susan", the eponymous protagonist is a charming widow and questionable morality that lures men and sends crisis families and marriage plans.
common to all three texts, as well as to major works of Austen, as well as the social milieu, and we could also say topography, a political asset, which the characters practice, some for themselves, for others who, in ' intent to combine social position, dowry, property, but this has to deal with the real wishes of stakeholders, which, if they are really positive, cultivate a sense of serious and successful attempt to realize their dream.
Love is not a romantic feeling, indeed, Austen is at pains to warn against the movements of the heart fans, in "Sanditon" Charlotte says expressly to Sir Edward Denham, who loves the novels that illustrate the magnificence of human nature, those that portray in its most sublime, when the feelings are revealed in all their intensity, those that trace the path of an overwhelming passion (...)".
Similarly, the writer can not stand dudes impulsive and seductive, as the same Sir Edward, or as Tom Musgrave, who like all the girls of "The Watsons", but not to the sensible and pretty Emma.
The love that Lady Susan was able to inspire in Reginald De Courcy, once the Young, discovered the true nature of woman, severed relations with her, continues to make it uneasy for about a year again: "In general, three months could have been enough, but Reginald's feelings were no less fervent constants."
Antiromanticismo, therefore, or rather a sort of interest diffident, almost afraid to be involved
In Unfinished Tales suggests that all things would be completed in the best way, either emotionally, economically for the protagonists. In "Lady Susan," the selfish designs of the owl at the expense of others, especially the unhappy daughter, Frederica, are thwarted, but for her there will be an arrangement more or less honorable, more or less happy, on which the writer, in conclusion, advances of the concerns, but not unbalanced, if not down a suitor for the hand of one who becomes her husband: "For me, I confess to pity only Miss Manwaring, who, after having come into the city and set against such expenses for her wardrobe, which impoverish for two years, with the sole purpose of conquest, was defrauded of what had been a woman ten years older than her.. "
This also gives us an idea of \u200b\u200bbiting final irony of Austen, which explores the events "of three or four families in a country town, far away from history, following the passage of time constantly embroiled in lifestyles, encounters, conversations recorded with meticulous detail, rarely troubled by extraordinary events, and his is a finite world, the only one, it is customary to point out that the writer knew, but this world is viewed with such psychological penetration (the criticism is usual to speak of "domestic realism") and especially with this disenchantment, that very little if they saves. And that little, thanks to rare female figures, which are far dall'identificarvisi, although Austen never resolve this attitude in breaking or rebellion and happiness that some of them reach is necessarily based on those material and social values, which can not be refused, the shattering of a real punishment, which appears as the only possible.
A real, where economic conditions have an essential role, especially for the discriminating role of the woman or wife with a good party (and this is facilitated by the possession of a good dowry), or must be adapted to be a teacher in a school ("I can not imagine anything worse," says Emma Watson's older sister). As for Emma, \u200b\u200bafter having lived with a wealthy aunt, who has kept away from the family of origin, is forced a ritornare dal padre e dalle sorelle senza nessuna rendita: glielo rinfaccia il fratello Robert, facendola irritare e addolorare.
La stessa pesantezza della situazione materiale appare in “Sanditon”, dove lo sguardo dell'autrice si allarga a rappresentare una situazione di cambiamento sociale, sotto l'incalzare del capitalismo: la trasformazione di una località sul mare in una stazione balneare alla moda ( e sappiamo che la Austen odiava Bath, dove fu costretta a risiedere per un po' di tempo). Assistiamo allora a manovre di speculazione finanziaria ed allo spirito imprenditoriale di Mr Parker, un entusiasta iperattivo e in fondo ottuso, che ha bisogno di appoggiarsi nella sua impresa alla old, powerful Lady Denham, Charlotte, after an embarrassing interview with her, sets extremely narrow-minded.
It can be said that the closed-mindedness, hypocrisy, condescension towards what others, to accept, they want from us and from what is fashionable, the enthusiasm and easy short-term, the ' careerism, vanity and narcissism, the calculation of personal gain at the expense of sincerity, not least by themselves: these are the negative values \u200b\u200bthat Jane Austen captures in the society of his time and he despises, his moral claims do not feel so far from us ...
Jane Austen. Lady Susan, The Watsons, Sanditon. Great Cheap Pocket Newton. Introduction of Ornella De Zordo. Translated by Daniel Paladini.
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