Sense and Sensibility | Page 2

an extract from the diary of another member of the family indirectly discloses the fact that the book had by that time been published. This extract is a brief reference to a letter which had been received from Cassandra Austen, begging her correspondent not to mention that Aunt Jane wrote Sense and Sensibility. Beyond these minute items of information, and the statement--already referred to in the Introduction to Pride and Prejudice--that she considered herself overpaid for the labour she had bestowed upon it, absolutely nothing seems to have been preserved by her descendants respecting her first printed effort. In the absence of particulars some of her critics have fallen to speculate upon the reason which made her select it, and not Pride and Prejudice, for her d��but; and they have, perhaps naturally, found in the fact a fresh confirmation of that traditional blindness of authors to their own best work, which is one of the commonplaces of literary history. But this is to premise that she did regard it as her masterpiece, a fact which, apart from this accident of priority of issue, is, as far as we are aware, nowhere asserted. A simpler solution is probably that, of the three novels she had written or sketched by 1811, Pride and Prejudice was languishing under the stigma of having been refused by one bookseller without the formality of inspection, while Northanger Abbey was lying perdu in another bookseller's drawer at Bath. In these circumstances it is intelligible that she should turn to Sense and Sensibility, when, at length--upon the occasion of a visit to her brother in London in the spring of 1811--Mr. T. Egerton of the 'Military Library,' Whitehall, dawned upon the horizon as a practicable publisher.
By the time Sense and Sensibility left the press, Miss Austen was again domiciled at Chawton Cottage. For those accustomed to the swarming reviews of our day, with their Babel of notices, it may seem strange that there should be no record of the effect produced, seeing that, as already stated, the book sold well enough to enable its putter-forth to hand over to its author what Mr. Gargery, in Great Expectations, would have described as 'a cool ��150.' Surely Mr. Egerton, who had visited Miss Austen at Sloane Street, must have later conveyed to her some intelligence of the way in which her work had been welcomed by the public. But if he did, it is no longer discoverable. Mr. Austen Leigh, her first and best biographer, could find no account either of the publication or of the author's feelings thereupon. As far as it is possible to judge, the critical verdicts she obtained were mainly derived from her own relatives and intimate friends, and some of these latter--if one may trust a little anthology which she herself collected, and from which Mr. Austen Leigh prints extracts--must have been more often exasperating than sympathetic. The long chorus of intelligent approval by which she was afterwards greeted did not begin to be really audible before her death, and her 'fit audience' during her lifetime must have been emphatically 'few,' Of two criticisms which came out in the Quarterly early in the century, she could only have seen one, that of 1815; the other, by Archbishop Whately, the first which treated her in earnest, did not appear until she had been three years dead. Dr. Whately deals mainly with Mansfield Park and Persuasion; his predecessor professed to review Emma, though he also gives brief summaries of Sense and Sensibility and Pride and Prejudice. Mr. Austen Leigh, we think, speaks too contemptuously of this initial notice of 1815. If, at certain points, it is half-hearted and inadequate, it is still fairly accurate in its recognition of Miss Austen's supreme merit, as contrasted with her contemporaries--to wit, her skill in investing the fortunes of ordinary characters and the narrative of common occurrences with all the sustained excitement of romance. The Reviewer points out very justly that this kind of work, 'being deprived of all that, according to Bayes, goes "to elevate and surprise," must make amends by displaying depth of knowledge and dexterity of execution.' And in these qualities, even with such living competitors of her own sex as Miss Edgeworth and Miss Brunton (whose Self-control came out in the same year as Sense and Sensibility), he does not scruple to declare that 'Miss Austen stands almost alone.' If he omits to lay stress upon her judgment, her nice sense of fitness, her restraint, her fine irony, and the delicacy of her artistic touch, something must be allowed for the hesitations and reservations which invariably beset the critical pioneer.
To contend, however, for a moment that the present volume is Miss Austen's greatest, as it was her first published, novel, would be a mere exercise in paradox.