I have quoted a section here and I would highly recommend reading the whole piece.
The city’s topography is not just intimately associated with the action and emotion of the novel . . . it is closely integrated with the characters’ rank and situation in life. In a word Austen’s use of Bath in Persuasion is organic. The entire city becomes a metaphor for the society she portrays.
‘Camden Place, Bath’ (1829), Jane Hartshorne
We note that Sir Walter chooses ‘a very good house in Camden-place, a lofty, dignified situation, such as becomes a man of consequence’ as his temporary lodgings in Bath. Camden-place (now Camden Crescent) in the early part of the nineteenth century was nearly the northernmost point of the city, in other words, at nearly the highest point of its elevation. From this height Sir Walter could literally look down on almost everyone else in Bath, an important consideration for a man to whom rank, ‘the place he held in society’, mattered so much. Understandably he and Elizabeth are much satisfied with this location. Maggie Lane has noted in A Charming Place — Bath in the Life and Times of Jane Austen the symbolism in the choice of Camden-place for the economically shaky baronet—it was built on shaky ground and the building project could not be completed.
Rivers Street
And what of the other characters? Lady Russell locates herself on Rivers-street, which is farther down on the map but slightly north of, or higher than, the Royal Crescent and The Circus. This location, ‘high’ enough but not as high as the Elliots’ apartments, must be regarded as suitable for ‘the widow of only a knight’ who has a healthy respect for Sir Walter’s ranking of baronet. Sir Walter would not have condoned her occupying a ‘higher’ spot on the map than himself.
The Jane Austen Centre – on Gay Street
As to Admiral and Mrs. Croft’s lodgings in Bath, Sir Walter is anxious that they ‘be situated in such a part of Bath as it might suit Miss Elliot and himself to visit in’. Eventually the Crofts find accommodation ‘perfectly to Sir Walter’s satisfaction’. The location in question is Gay Street. It branches off The Circus southward as far as Queen Square. It is still farther ‘down’ in the city, but not so far down that it would be a source of embarrassment for Sir Walter and Elizabeth to visit, and not so ‘high’ as to make the address too close for comfort. Sir Walter’s thoughts upon choosing Admiral Croft as the tenant of Kellynch Hall, ‘the admiral’s situation in life . . . was just high enough, and not too high’, finds a resonance here. Asked if they should present the Crofts to their august relations the Dalrymples in Laura Place, Elizabeth Elliot answers, ‘Oh! no, I think not. . . . We had better leave the Crofts to find their own level’. The ‘level’ Elizabeth talks of can apply geographically as well as socially. As I have stated geography and social rank go hand in hand in Persuasion.
‘Bath at the End of the 18th Century’ (1825), north towards the right. Gay Street runs south from The Circus to Queen Square and on to Westgate Buildings. To the north of the Circus is River Street and to the northeast is Camden Place.
It is a matter of course that Sir Walter looks with utter contempt on Mrs. Smith of Westgate Buildings, located as they are at the low end of Bath. Both the names ‘Smith’ and ‘Westgate Buildings’ spell for Sir Walter the utmost disgrace. That Mrs. Smith took the lodgings in Westgate Buildings because they are close to the baths does not weigh at all with Sir Walter, to whom location is the criterion for his judgment along with personal appearance and social rank: ‘Westgate-buildings! . . . and who is Miss Anne Elliot to be visiting in Westgate-buildings?—A Mrs. Smith. A widow Mrs. Smith. . . . Upon my word, Miss Anne Elliot, you have the most extraordinary taste! Every thing that revolts other people, low company, paltry rooms, foul air, disgusting associations are inviting to you’.
I’m looking forward to discussing the finale! We’ll read chapters 21-24 this week – (Volume II, Chapters 9-12) – and discuss them next Friday28th February.
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Austen makes Bath sound like a big little town, doesn't she? Everyone is always bumping into each other and popping over to each other's houses. Even the various "good" neighborhoods seem awfully close to each other. I liked it though, it upped the energy of the novel a couple of degrees.
I continue to side-eye Lady Russel, whose judgment is really setting off my alarms. Pushing William Elliot now? On the other hand, the Crofts continue to delight me. The Admiral harrumphing over the painting and its authenticity made me laugh, and Mrs. Croft cheerfully proves that she doesn't need the Elliots for social status, she's plenty busy in her own circle.
Mrs. Smith and Mrs. Rooke are a good antidote to the social silliness. I wish we had a chapter of two more of them.
Finally, the return of Wentworth! I wish we knew more of what was going on in his head. He does keep popping up, and that gives me some hope in that direction.
Things really step up a gear in this section - and we did end up with a bit of a cliffhanger. Is Captain Wentworth giving up? Again?
It feels to me that Anne moving out of her home environment is a fairly common plot device - think Lucy Honeychurch, Mary Lennox and Miss Trant amongst others - giving an opportunity for the reader (and the character) to see the character in a new light. Even if the characters return home, they remain changed.
And mentioning Lucy Honeychurch reminds me: when Henry was talking about Lady Russell, she feels like a precursor of Charlotte Bartlett - doing what she think is right is society's eyes, but forgetting what it means to the person about whom they are.
As Henry points out, class really come to the fore in this section. Whereas most characters are irredeemable snobs, Anne avoids that trap. I particularly loved the line "She left it to himself to recollect that Mrs. Smith was not the only widow in Bath between thirty and forty, with little to live on, and so surname of dignity." I would suggest that Anne is not somebody to be messed about with: she has the ammunition stored away.
The brilliance of the writing isn't in what is said, it's what isn't said. Anne is voicing doubts about William Elliot, but we've known for a while that he's a wrong 'un - even if we don't know why we think that.
My favourite line, though, came at the end of chapter 19 "the elegant stupidity of private parties". I am saving that line for future use.
I'm now about to lower the tone, so will do that in a separate reply.
Austen makes Bath sound like a big little town, doesn't she? Everyone is always bumping into each other and popping over to each other's houses. Even the various "good" neighborhoods seem awfully close to each other. I liked it though, it upped the energy of the novel a couple of degrees.
I continue to side-eye Lady Russel, whose judgment is really setting off my alarms. Pushing William Elliot now? On the other hand, the Crofts continue to delight me. The Admiral harrumphing over the painting and its authenticity made me laugh, and Mrs. Croft cheerfully proves that she doesn't need the Elliots for social status, she's plenty busy in her own circle.
Mrs. Smith and Mrs. Rooke are a good antidote to the social silliness. I wish we had a chapter of two more of them.
Finally, the return of Wentworth! I wish we knew more of what was going on in his head. He does keep popping up, and that gives me some hope in that direction.
Once again, thanks Henry!
Things really step up a gear in this section - and we did end up with a bit of a cliffhanger. Is Captain Wentworth giving up? Again?
It feels to me that Anne moving out of her home environment is a fairly common plot device - think Lucy Honeychurch, Mary Lennox and Miss Trant amongst others - giving an opportunity for the reader (and the character) to see the character in a new light. Even if the characters return home, they remain changed.
And mentioning Lucy Honeychurch reminds me: when Henry was talking about Lady Russell, she feels like a precursor of Charlotte Bartlett - doing what she think is right is society's eyes, but forgetting what it means to the person about whom they are.
As Henry points out, class really come to the fore in this section. Whereas most characters are irredeemable snobs, Anne avoids that trap. I particularly loved the line "She left it to himself to recollect that Mrs. Smith was not the only widow in Bath between thirty and forty, with little to live on, and so surname of dignity." I would suggest that Anne is not somebody to be messed about with: she has the ammunition stored away.
The brilliance of the writing isn't in what is said, it's what isn't said. Anne is voicing doubts about William Elliot, but we've known for a while that he's a wrong 'un - even if we don't know why we think that.
My favourite line, though, came at the end of chapter 19 "the elegant stupidity of private parties". I am saving that line for future use.
I'm now about to lower the tone, so will do that in a separate reply.