JANE AUSTEN'S AESTHETIC: A SERIES OF NEW DEPARTURES

Jane Austen has long been celebrated for a body of work which is original, but rarely is she heralded as a writer who constantly pushes herself to explore new areas. The major voices in Austen criticism contend that Persuasion is a significant new departure for Austen. Though there may indeed be "a new element" in Persuasion, it is my contention that each of Austen's novels contains a "new departure" as important as that in Persuasion; articulating Austen's artistic commitments clarifies both what new elements she chooses to take up and which elements she chooses to reconsider. In each novel there is a new element: a new sort of heroine, a new situation for the characters, or a new problem for the narrator.;This dissertation examines these four principles, pointing out the major new challenges Austen takes up in each novel and outlining how these artistic principles intertwine to form Austen's aesthetic and to create a series of dynamic novels. The final chapter is a re-examination of the question as to why Austen abandoned The Watsons, suggesting that the heroine's situation creates an irresolvable conflict in Austen's artistic principles.;This commitment to novelty is one of four main elements in Austen's aesthetic. The second is a type of realism characterized by a devotion to natural character development, probable situations, and character-motivated plots. The third is didacticism. Austen's novels recommend ways of living to the reader based on moral values, self-knowledge, and an accurate perception of the world. The final element is optimism. Austen delights in laughter and in exercising her frequently ironic wit. Her novels are all positive statements in which the characters find fulfillment in life. The characters are often flawed, and her optimism suggests hopefully that happiness can be reached even if we are not perfect.