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Keywords = Mansfield Park

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13 pages, 206 KiB  
Article
‘I Heard Music’: Mansfield Park, an Opera by Jonathan Dove and Alasdair Middleton
by Gillian Dooley
Humanities 2025, 14(2), 26; https://doi.org/10.3390/h14020026 - 7 Feb 2025
Viewed by 1277
Abstract
When composer Jonathan Dove first read Jane Austen’s novel Mansfield Park, he immediately saw its operatic potential. In a newspaper interview, he is quoted as saying that the novel ‘haunted me for years’. He was particularly affected by Fanny Price and her [...] Read more.
When composer Jonathan Dove first read Jane Austen’s novel Mansfield Park, he immediately saw its operatic potential. In a newspaper interview, he is quoted as saying that the novel ‘haunted me for years’. He was particularly affected by Fanny Price and her predicament. When the opportunity came to write the opera, Dove worked with librettist Alasdair Middleton to create an operatic work that builds on and reinterprets Austen’s novel. It is a chamber opera, originally scored for piano duet, and although Dove later made an arrangement for a chamber ensemble, he retained the piano, identifying it as a sound world with which Austen was intimately familiar. In this paper, I track the transition from the printed page via the score and the libretto to the opera, and analyse the means by which Dove and Middleton create this popular adaptation, including telescoping the plot, using and adapting Austen’s own language, incorporating music inspired by eighteenth-century glees, and using characters as a chorus, with music that enhances the impact and translates the powerful emotions on Austen’s page into raw and urgent feelings. Full article
(This article belongs to the Special Issue Music and the Written Word)
21 pages, 374 KiB  
Article
‘& Not the Least Wit’: Jane Austen’s Use of ‘Wit’
by Octavia Cox
Humanities 2022, 11(6), 132; https://doi.org/10.3390/h11060132 - 26 Oct 2022
Cited by 1 | Viewed by 6587
Abstract
Jane Austen is celebrated for her wit and wittiness. She famously defended novels in Northanger Abbey, for example, on the basis that they display ‘the liveliest effusions of wit’. Critics have long been occupied with detailing the implications of Austen’s wit, but [...] Read more.
Jane Austen is celebrated for her wit and wittiness. She famously defended novels in Northanger Abbey, for example, on the basis that they display ‘the liveliest effusions of wit’. Critics have long been occupied with detailing the implications of Austen’s wit, but without due attention to Austen’s own explicit deployment of the word within her writing. Offering a re-evaluation of Austen’s use of ‘wit’, this article provides a much-needed examination of how the term is implemented by Austen in her fiction (from her juvenilia, and through her six major novels), contextualises wit’s meaning through its seventeenth-, eighteenth-, and nineteenth-century senses, and reveals that ‘wit’ did not necessarily have the positive connotations often presumed in modern suppositions. It transpires that, seemingly paradoxically, Austen routinely adopts the label ‘wit’ ironically to expose an absence of true wit, whilst concurrently avoiding the application of the word in moments displaying true wit. This article argues for the need to understand the crucial distinction between wit and true wit in Austen’s fiction. Full article
(This article belongs to the Special Issue Jane Austen: Work, Life, Legacy)
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