THE
BEAUTIFULL CASSANDRA
Artwork by Leon Steinmetz
Princeton ISBN 13: 978-0-691-181530-0 Reviewed by alan Dent
This little novel in twelve chapters was written by Austen as
a girl of twelve or thirteen. It is enhanced here by simple but
effective illustrations by Leon Steinmetz. The afterword by Claudia
L Johnson is considerably longer than the fiction itself, but is
expertly underpinned and written. Forming part of Austen’s
juvenilia, this book reveals her precociousness and mischief.
Johnson is interesting and informative on how Austen toys with the
stock-in-trade of eighteenth century prose, showing not only that
she was widely read but that she had an acute appreciation of style.
In fewer than five hundred words Austen convinces that she was a
writer by nature. Much of what was to follow is adumbrated in this
apparently private, throw-away little effort.
The Cassandra of the title is, presumably, Austen’s sister.
The novel tells of her cheeky, delinquent adventures in the course
of a seven hour frolic around town. She eats six ice-creams she
refuses to pay for, hires a coach and can’t reward
the coachman, popping her hat on his head and taking to her
heels. She is intriguingly embarrassed by an encounter with Maria.
She is, in short, a heroine in the making; vut a heroine of a
particular kind. She is no conformist. As Johnson points out, in
later works of her teenage years, Austen will fill her writing with
incident: the young woman who begins with patricide, for example,
and goes on to murder her sister, her mother, to forge her own will
and so on. The dead pan nature of the narration of these wild
actions had a significant influence on Joe Orton. Like him, Austen
seems to have recognised that people are very bad but very funny and
to have spotted that there is irresistible humour in the combination
of vicious behaviour and prim forms of expression.
It’s possible, of course, to get carried away. This little
book, in and of itself, is of small interest. It garners
significance only because it was followed by the six novels. There
is a danger, therefore, of reverse engineering from the accomplished
work to this promising squiggle. There’s nothing wrong with that in
a way, so long as it’s kept in perspective: this is a curiosity.
Austen fans will want to have it beside the novels but they are
where the real benefit is to be found.
One point Johnson makes is worth repeating: Austen shows here
that she wants to write without recourse to out-of-the-way events.
She is pulling away from melodrama and the Gothic. She wants to find
a means to write interestingly about the banal. Any fool can write
about murder, rape and robbery. It takes real genius to write about
the exchanges which constitute the bread of daily life. Johnson says
Austen both parodies and valorises the Gothic in
Northanger Abbey. There
may be evidence for that, but the parody is more powerful than the
endorsement. Austen is at her best when she is spiking. When she
tries to uphold and promote, she tends to be less convincing. Anne
Elliott, for example, clearly to some extent a self-portrait, is at
times and in some ways, too good to be true. There is no point in
Persuasion when she is
seriously at fault or a serious flaw in her character exposed.
Irving Howe pointed out that Hardy did something rare
in Tess of the
Durbervilles: he made goodness interesting; but Tess is abused,
disappointed, betrayed. Anne Elliot stands apart from all the other
characters of Persuasion
as a superior presence. Austen speaks through her and finally she’s
a hard character to take. No one is perfect and convincing
characters always have flaws. The real matter, however, is that too
close an identity between a character and the narrator/implied
author, when that character is presented as almost flawless feels
somewhat like being compared to a favoured sibling by a disgruntled
parent.
What Joe Orton saw and made use of in Austen is the best of
her: a capacity to expose pretentiousness, hypocrisy, self-deception
– the commonplace failings of all of us.
The Beautifull Cassandra
shows her honing her capacity for parody and parody was her
strength.
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