Report from Fort Worth, part two

At the JASNA AGM, by Saturday, October 15, I have to admit I was becoming overwhelmed. The plenaries and break-out sessions were outstanding.  I was enjoying every minute but I was having a very hard time deciding among the many options for sessions. I luckily overheard a suggestion from some anonymous know-it-all and thus enjoyed the delightful presentation of Margaret Chittick and Vera Quin: “S&S is Full of Surprises.”

Claire Bellanti, Margaret Chittick & Vera Quinn

Carrie Bebris  spoke on “Gunsmoke: Dueling in Jane Austen’s Time” giving details about the Code Duello, the rules and the equipment, as well as stories about actual duels.  The only duel in S&S occurs off-stage and is referred to only briefly, but it was a clear indication of the seriousness with which Col. Brandon dealt with the wayward Willoughby — a matter of the highest honor.

Here is Carrie, costumed later for the ball, with her parents Jane and Jerry Morris

My good pal Nina Davis came over from Dallas to spend some quality time at the JASNA AGM.  We spent a lot of time in the Emporium, where the temptations almost overcame us.

Nina and Vicky at the promenade
One of the highlights of the meeting was the talk by Andrew Davies, British screen writer of several Jane Austen adaptations including Pride and Prejudice (Colin Firth version, 1995), Emma (Mark Strong version, 1996) and Sense & Sensibility (BBC, 2008), among many others.  Not only was Mr. Davies’ presentation well received, he was a perfect guest, willing to pose for pictures with many of us, only a few of which I managed to record.
Andrew Davies and Victoria Hinshaw
Andrew Davies and Amanda McCabe
Andrew Davies and authors Amanda McCabe and Jane Mullaney
Below is the conference logo reproduced in white chocolate for a fitting denoument to the banquet.

Following the banquest, many of the costumed attendees promenaded around the hotel and the neighborhood.

Sue Forgue of Chicago, proprietress of the Regency Encyclopedia

Unidentified stroller on the left, with Steve Lawrence of the Chawton House Library and Mrs. Lawrence.

Kathy O’Brien and Judy Beine of JASNA-WI
Strollers in costume
More delightful costumes

                    In the foreground, Judy Beine, Kathy O’Brien, Sara Bowen and Kim Wilson

                                                             Lori Davis and  Kim Wilson

Liz Cooper wore appropriate Texas attire to escort Andrew Davis on the promenade

After the brunch on Sunday, Nina and I — along with lots of other Janeites — visited the Kimball Art Museum in Fort Worth for the newly-opened exhibition on Caravaggio and His Followers.

For more information on the Kimball Art Museum, click here.

And here is more information on JASNA, the Jane Austen Society of North America.

Watch for another post on the gala book launch held in Ft. Worth, comuing soon.

Next year, the JASNA AGM will be held in New York City, Brooklyn to be precise, October 5-7,. 2012where the topic is “Sex, Money and Power in Jane Austen’s Fiction.”

For your video invitation, click here.

Anonymous

Anonymous, opening on October 28th, is a political thriller advancing the theory that it was in fact Edward De Vere, Earl of Oxford who penned Shakespeare’s plays; set against the backdrop of the succession of Queen Elizabeth I, and the Essex Rebellion against her. The film stars Rhys Ifans, Vanessa Redgrave and David Thewlis.

Shakespearean conspiracy theories have been around for centuries and the film does not seek to advance one or the other, but rather it presents the facts and leaves it to the viewer to make up their on mind on the subject. The sets are gorgeous, the acting isn’t half bad and the costumes are as authentic as costume designer lisy Christl could make them.  Christl boiled, shrank, then dyed and painted the fabrics to transform them into director Roland Emmerich’s desired look for the authentic atmosphere of the political snake-pit of Elizabethan England and the movie’s picture style with low light that comes from candles and fireplaces.

“With the new developments in digital cinematography, we could really take advantage of candlelight and firelight,” says Director of Photography Anna Foerster. “For a period piece, using available light – candles, fireplaces, whatever comes in from outside – makes it real.” Together with Emmerich, she developed the look of the film from the paintings of Johannes Vermeer and Georges de La Tour. “Vermeer uses the soft, diffused daylight that comes in through windows; de La Tour would have a single source of light, a candle or a torch.”

Actress Joely Richardson in the role of Princess Elisabeth Tudor, later Queen Elizabeth I.

Visit the film’s official site here, where you can watch a trailer, as well as design your own coat of arms. A review of the film can be found at here at ScreenCrave.

Report from Fort Worth: The JASNA AGM 2011

Victoria here, back from five wonderful days at the Annual General Meeting of the Jane Austen Society of North America, held this year in Ft. Worth, Texas.  Many thanks to all the wonderful volunteers who organized the meeting, led by Dr. Cheryl Kinney and Rosalie Sternberg. 

The topic was, of course, Sense & Sensibility, marking the 200th anniversary of Jane Austen’s first published novel.  The festivities started on Thursday with a few special presentations, including mine on “The Sensible Regency Wedding.”

Above, I am posing on the stage with Jinger Heath who spoke on “Regency Cosmetics and Esthetics: A Look to Die For” immediately preceding my talk on Thursday night, October 13. Jinger told the audience about some of the dreadful facial concoctions used by regency-era women to whiten their skin, substances containing lead and other poisons. She also told us how some of their formulas — such as rosewater and various oils — were quite beneficial.

Kathy Yank (left, above) introduced me. Using power point, I talked about the usual simplicity and low-key nature of regency weddings, using particularly the examples of Jane Austen’s niece Anna’s wedding to Ben Lefroy in 1814, as described by Anna’s half-sister Caroline Austen, and Annabella Milbanke’s wedding to Lord Byron in 1815, the latter recounted by John Cam Houbhouse (later Lord Broughton).

I also talked about royal weddings (and one non-wedding of the Prince of Wales to Maria Fitzherbert), including the ceremony that united Princess Charlotte of Wales to Prince Leopold of Saxe-Coburg. I covered a number of other topics, like courtship, the weddings in Jane Austen’s family and in her novels, the laws governing marriage, the ceremony itself, and so on.  I concluded by speculating on whether Jane Austen yearned for a wedding of her own.

Musing on the remark made by Charlotte Lucas in Pride and Prejudice, “Happiness in marriage is entirely a matter of chance,” I asked: “Was Jane Austen’s happiness a result of chance? Happiness in her literary success was the result of talent, wit, hard labor, and perseverance. Jane Austen’s satisfaction with her accomplishments left nothing to chance.” 

On Friday, Dr. Elisabeth Lenckos (above) of Chicago led us in an examination of whether our dispositions are more like Elinor’s or Marianne’s. I seemed to hear about a 50-50 split among those sitting near me.

 Dr. Joan Ray presented the North American Scholar Lecture at the opening plenary session. She analyzed “Sense & Sensibility as Austen’s Problem Novel,” citing various difficulties readers, particularly her students, have with the characters and plot.  Perhaps most obvious among these problems is whether or not Marianne will find happiness as the wife of Col. Brandon.  Dr. Ray, in her charming and humorous manner, convinced us by reading from the text some perhaps-overlooked aspects of Marianne’s and the Colonel’s behavior and opinions  that emphasized the empathetic nature of their personalities. Their essential compatibility, she assured us, would bring them happiness.

As always at JASNA AGMs, it is difficult to chose among the wonderful break-out sessions offered by dozens of well-spoken presenters with a variety of  intriguing topics.

My good friend Elizabeth Philosophos Cooper of Madison talked about “Jane Austen, Publisher: Writing Herself Into Money and Longing for More.” Liz documented the publication process for each of Austen’s novels, from early unsuccessful attempts through her various methods of reaching publication to the actual funds she received for some of her work, some during her lifetime, and more after her death.

Jeffrey Nigro, Chicago Regional Coordinator, spoke on “The Iconography of Sensibility,” illustrating how artists and poets extoll
ed the beauty and drama of the emotional expressionism of the era.

William Phillips, also of Chicago, counted down from the least egregious of the nasties to the worst of the examples in Sense & Sensibility in his talk “Meaner than a Texas Pole-cat: Present day Perspectives on Austen’s Largest Cast of Nasties.” It wasn’t easy to chose the worst among some of the revolting people in S&S, like John and Fanny Dashwood, Mrs. Ferrars and her son Robert — but of course the nastiest of all was the vindictive and sly Lucy Steele.

I will report further on the activities at Fort Worth — from an exciting book launch, to the brilliant ball, to the outstanding talks by Andrew Davies and Deirdre Le Faye — in my next posts.

Stay tuned for much, much more.

The Dobson Painting at Ashdown House by Guest Blogger Nicola Cornick

On the third landing at Ashdown House hangs a splendid group portrait of three prominent cavaliers. The artist is William Dobson, court painter to King Charles I, and the picture was painted in about 1644, during the English Civil War, when Charles’ court was based in Oxford. The names that are painted onto the picture are those of Prince Rupert of the Rhine, his brother Prince Maurice and the Duke of Richmond. This is the first mystery about the painting – the names of the sitters were added at a later date and two of them are incorrect. Whilst Prince Rupert is definitely the focal point of this painting, his comrades are Colonel Murray and Colonel Russell. A second mystery is why the painting is unfinished. The detail on Prince Rupert’s clothes has not been completed and there is no glass containing the red wine. We can speculate that perhaps the person who originally commissioned the painting never returned from the wars to pay for it.

It is entirely appropriate that this portrait should hang at Ashdown, a hunting lodge built circa 1662 for William, First Earl of Craven. Craven was a lifelong supporter of the Royalist cause and an ardent admirer of Prince Rupert’s mother, the beautiful and charismatic Elizabeth, Queen of Bohemia, the Winter Queen. It was Elizabeth who bequeathed to William Craven the splendid portrait collection that hangs in Ashdown House today. Craven and Rupert were friends and comrades in arms during the 30 Years War that ravaged Europe during the early years of the 17th century. Craven was also the executor or Rupert’s will and guardian to his illegitimate daughter Rupertina.

Elizabeth, Queen of Bohemia

The Dobson Picture, as we call it, is packed full of symbols of loyalty. It portrays Prince Rupert as the saviour of the Royalist cause. His colours, the pink, the grey and the black, swathe the pillar of strength in the back of the picture. The same colours are on the cockade that is being dipped into the red wine, which will be raised in loyal toast to the King. The crossed gloves symbolise politics and the monarchy. The picture also contains the ultimate symbol of loyalty – a dog with Prince Rupert’s initials monogrammed onto its collar. It is gazing up at Rupert with devotion.

Rupert was renowned for his love of animals, a curious and rather endearing trait in a man also known for his ferocity in battle. In this he was said to take after his mother who preferred “her dogs, her hunting and her monkeys” to her children, apparently in that order. Her preference for her pets may explain why Elizabeth of Bohemia was estranged from all of her children at one time or another. There is a story that relates that when Elizabeth and her family were forced to flee Bohemia after the Battle of the White Mountain in 1620, the butler was going through the palace to make sure that nothing valuable had been left behind and found Rupert, three years old at the time, abandoned in the nursery. He picked the child up and hurried after Elizabeth’s carriage, only to discover that she had made sure that her pet monkey Jacko was safely installed inside!

Prince Rupert’s most famous dog was a Standard Poodle called Boy who ran with his cavalry. Boy was a particular target for the Roundheads, who became obsessed with the idea that he was Rupert’s familiar and attributed to him various magic powers, including that he was fluent in various languages, that he was invulnerable in battle and that he could put a spell on the enemy. Boy began to feature in Roundhead propaganda. A pamphlet of 1643 “Observations upon Prince Rupert’s Dogge called Boy” reported that Boy sat beside Rupert in meetings of the King’s Council and that Charles I allowed him to sit on the throne. Boy attended church services and was the toast of the Royalists after various victories. The Roundheads tried both poison and prayer to destroy “this Popish, profane dog, more than halfe a divill, a kind of spirit.” Although the dog was a white poodle they portrayed him as black in the pictures in order to associate him more closely with the devil.

Perhaps inevitably, Boy fell prey to a Roundhead bullet at the Battle of Marston Moor and proved not to be invulnerable after all. The Puritans claimed in another pamphlet “A Dog’s Elegy or Rupert’s Tears” that Boy had been killed by a valiant soldier who had skill in necromancy. The verse ran: “Lament poor cavaliers, cry, howl and yelp, For the great losse of your malignant whelp.” Poor Boy! In an age of superstition it is easy to see how men might attribute magic powers to such a creature and also why the enemy might use Boy as a symbol of the Royalist cause. In the same way it is easy to see how Boy was a talisman and mascot to the Royalists who mourned his loss very deeply. He went down in the army records as the first official British Army Dog, which seems a fitting tribute to a loyal pet.

Ashdown House

Ashdown House is currently undergoing a major conservation project that will see the repair of the roof, balustrade and cupola, the restoration of the white chalk walls to their original dazzling glory and the renovation of the interior. “Hard Hat Tours” up the scaffolding will be offered from April 2012 to see the conservation in action. The progress of the project and much more information on the history of the house can be found online at www.ashdownhouse.blogspot.com

The Trouble With Horses

From The Creevey Papers

October 23rd. (1837) —Since August 30th, nearly two months, I have written not a line, for I have had nothing to record of public or general interest, and have felt an invincible repugnance to write about myself or my own proceedings. Having nothing else to talk of, however, I shall write my own history of the last seven weeks, which is very interesting to me inasmuch as it has been very profitable. Having asked George Bentinck to try my horse ‘Mango’ before Doncaster, we went down together one night to Winchester race-course and saw him tried. He won the trial and we resolved to back him. This we accomplished more successfully than we expected, and ten days after he won the St. Leger, and I won about 9,000Z. upon it, the first great piece of good fortune that ever happened to me. Since Doncaster, I have continued (up to this time) to win at Newmarket, so that my affairs are in a flourishing condition, but, notwithstanding these successes, I am dissatisfied and disquieted in my mind, and my life is spent in the alternations of excitement from the amusement and speculation of the turf and of remorse and shame at the pursuit itself. One day I resolve to extricate myself entirely from the whole concern, to sell all my horses, and pursue other occupations and objects of interest, and then these resolutions wax faint, and I again find myself buying fresh animals, entering into fresh speculations, and just as deeply engaged as ever. It is the force of habit, a still unconquered propensity to the sport, and a nervous apprehension that if I do give it up, I may find no subject of equal interest.