Jane Austen and Comedy ed. by Erin M. Goss, and: Satire, Celebrity, and Politics in Jane Austen by Jocelyn Harris, and: Jane Austen: Writing, Society, Politics by Tom Keymer

Jane Austen is acknowledged for the application of realism and satire in her novels. This paper focuses on the analysis of realism and satire in Jane Austen’s Pride and Prejudice; however, her entire oeuvre spotlights the features (of satire and realism) alongside robust feminism: typical of her literary taste and temperament, not necessarily of the Romantic Age which she lived in. Rigorous analysis and realistic observation reveals that the employment of realism and satire in Pride and Prejudice, are quite obvious, in all sorts of aspects including narrative, settings, themes and characters. Analysis of the novel under study leads to the observation that satire and realism go hand in hand in the said novel—intermittently—and thoughtfully. Conclusively, it is observed that Jane Austen’s literary life had a tremendous influence on how to subsume realism (primarily through matrimonies) of age and satire on a romantic society (whereby ideals collapse headlong), in Pride and Prejudice.

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‘Colonial livery’ and the chemise à la reine, 1779–1784

Costume ◽

10.3366/cost.2018.0069 ◽

2018 ◽

Vol 52 (2) ◽

pp. 217-239 ◽

Cited By ~ 1

Author(s):

Jane Ashelford

Keyword(s):

West Indies ◽

Jane Austen ◽

French West Indies ◽

Cotton Industry ◽

Saint Domingue ◽

Marie Antoinette ◽

White Elite

When Jane Austen wrote in January 1801 that ‘Mrs Powlett was at once expensively and nakedly dressed’, the fashion for muslin dresses had existed for some eighteen years. This article examines the crucial period between 1779 and 1784 when the muslin garment, which became known as the chemise à la reine, was developed and refined. Originating in the French West Indies, the gaulle was the ‘colonial livery’ worn by the wives of the white elite, the ‘grands blancs’, and first appeared as a costume in a ballet performed in Paris in 1779. The version worn by Queen Marie Antoinette in Vigée Le Brun's controversial portrait of 1783 provoked, according to the Baron de Frénilly, ‘a revolution in dress’ which eventually destabilized society. The article focuses on the role played by Saint-Domingue, France's most valuable overseas possession, in the transference of the gaulle from colonial to metropolitan fashion, and how the colony became one of the major providers of unprocessed cotton to the French cotton industry.

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