Abstract

The nineteenth century compared her to Shakespeare; in our own time, she has been likened most often to Henry James. Both comparisons reflect a basic difficulty in reconciling subject matter with treatment, in squaring Jane Austen's restricted world - "3 or 4 Families in a Country Village" - with her profound impact upon our imaginations. Over the years her admirers have tried to resolve this paradox in various ways, none quite successful, but throughout all the changes in critical method one thing has remained constant: the high level of admiration. As Edmund Wilson once remarked, in various revolutions of taste which have occurred during the last century and a half, "perhaps only two reputations have never been affected by the shifts of fashion: Shakespeare's and Jane Austen's. We still agree with Scott about Jane Austen, just as we agree with Ben Jonson about Shakespeare." Even in the half-century after Jane Austen's death, when her reputation was limited in comparison with those of the great Victorians, the praise of discriminating critics was remarkably consistent; and it seems safe to predict, as we begin to celebrate the two-hundredth anniversary of her birth, that this high estimate will remain unchallenged. The bicentennial year will produce the usual tributes, conferences, and collections of essays, but the call for "revaluation" which is usually a ritual part of such occasions will scarcely be heard. The question will not be one of placing Jane Austen in some hierarchy of value, but of trying once again to explain her accepted excellences. A. Walton Litz has written The Art of James Joyce, Jane Austen: A Study of Her Artistic Development, Introspective Voyager: The Poetic Development of Wallace Stevens, and numerous articles. He is professor of English at Princeton University