Essay
Culture
7 min read

Praying with Jane Austen

From Elizabeth Bennet to Emma, Jane Austen’s heroines often consider their own character then change. As the anniversary of the novelist’s birth approaches, Beatrice Scudeler explores their author's prayers.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

A head and shoulders portrait of a young woman inclining her gaze to one side.
Portrait of a Young Woman in White, 1798, Jacques-Louis David.

In his essay ‘A Note on Jane Austen’, C. S. Lewis argues that the heroines in each major Austen novel go through a process which he terms ‘undeception’, leading them to ‘discover that they have been making mistakes both about themselves and about the world in which they live.’ This can take the form of self-analysis, or of a more explicitly Christian examination of conscience. Elizabeth Bennet or Catherine Moreland may not be constantly described praying, for instance, but they certainly engage in a healthy amount of self-examination. On the other hand, we have a much more explicitly Christian example of repentance in the character of Marianne Dashwood in Sense and Sensibility, who, after her abandonment by Mr. Willoughby, and having just recovered from a dangerous illness, confesses to her sister that is grateful to have been given the chance to repent and ‘have time for atonement to my God.’ But what about Austen herself? What was the role of self-examination in her own life?  

I got my answer earlier this year, when my husband and I went on a Jane Austen prayer retreat at the charming vicarage of Edenham, Lincolnshire. When not engaged in prayer, we spent our time learning about and discussing Austen’s faith, which she practised devoutly throughout her life as the daughter of an Anglican clergyman. Austen’s life was immersed in prayer.  

According to Fr. Ed Martin, who hosted the retreat, the Austens would have read through all of the Old Testament once in a year, the New Testament twice in a year, and the Psalms once each month. What’s more, Fr. Ed estimated that, once personal devotion and church services were accounted for, Austen would have prayed the Lord’s prayer about 30,000 times over her the course of her life. 

I was also delighted to learn more about one of only twenty books that we know with certainty to have been in Austen’s personal collection – A Companion to the Altar by William Vickers. Austen’s copy, signed 1794, resides at the Princeton University Library; according to Irene Collins, whose book Jane Austen: The Parson’s Daughter (1998) I highly recommend, Austen made regular use of Vickers’ book, which was meant as a guide for Anglicans to prepare themselves spiritually to receive Holy Communion.  

I was intrigued to read A Companion to the Altar for myself. What stood out to me is Vickers’ emphasis on self-examination and repentance as crucial to one’s spiritual life, especially leading up to Sundays when a communion service was going to happen. This struck me as being very much in keeping with the experience of the heroines in Austen’s novels which Lewis details in his essay on Austen. 

These three prayers also reveal that, for Austen, the key to a virtuous life resides not in blindly sticking to a set of moral rules, but rather in cultivating one’s character. 

While thinking about these ideas of examination of conscience and repentance, I was reminded that, thanks to her sister Cassandra, three of Jane Austen’s own prayers have survived. They were penned by Austen as an adult, judging by the handwriting, and would have been written for the purpose of personal or family devotion, especially on a Sunday evening. These three prayers, though brief, reflect – and even clarify – so many of the issues that Austen returns to again and again in her novels: the danger of pride, the necessity of repentance and humility, and more generally, a call to lead a virtuous life. For example, in the third prayer she writes: 

Incline us oh God! to think humbly of ourselves, to be severe only in the examination of our own conduct, to consider our fellow-creatures with kindness, and to judge all they say and do with that charity which we would desire from them ourselves. 

This passage could have been written for Emma Woodhouse herself! After the disastrous trip to Box Hill, where she deeply embarrasses Miss Bates in front of their friends, we are told that the normally confident and even haughty Emma admits that ‘She had often been remiss, her conscience told her so’ and, after much reflection, she experiences ‘the warmth of true contrition.’ Nor does this call to humility apply solely to Austen’s female characters.  

While Lewis does not extend his concept of ‘undeception’ to Austen’s heroes, this is clearly what happens to Mr. Darcy by the end of Pride and Prejudice, so much so that, once he has realised the extent of his past pride, he tells Elizabeth, ‘By you, I was properly humbled.’ Similarly, in Persuasion Captain Wentworth admits to Anne Elliot that if he had not been ‘too proud’, their separation need not have been so long, and they might have been able to get married and begin a life together much sooner.  

These three prayers also reveal that, for Austen, the key to a virtuous life resides not in blindly sticking to a set of moral rules, but rather in cultivating one’s character, starting by training one’s disposition through habitual practice of certain key virtues like charity, patience, and humility. As Alasdair Macintyre notes in his seminal philosophical work After Virtue (1981), Jane Austen follows ancient philosopher Aristotle in thinking that ‘Virtues are dispositions not only to act in particular ways, but also to feel in particular ways.’ Therefore, a moral education is not simply about doing what’s right whether you feel like it or not. Rather, it’s an ‘education sentimentale’: it’s about becoming morally mature enough to do the right thing not because you have to, but because you want to. Let me quote here a key passage from the first surviving prayer, in which Austen is asking God for forgiveness and guidance: 

Look with Mercy on the Sins we have this day committed, and in Mercy make us feel them deeply, that our Repentance may be sincere, & our resolutions steadfast of endeavouring against the commission of such in future. Teach us to understand the sinfulness of our own Hearts, and bring to our knowledge every fault of Temper and every evil Habit in which we have indulged to the discomfort of our fellow-creatures, and the danger of our own Souls. May we now, and on each return of night, consider how the past day has been spent by us, what have been our prevailing Thoughts, Words, and Actions during it, and how far we can acquit ourselves of Evil. Have we thought irreverently of Thee, have we disobeyed thy commandments, have we neglected any known duty, or willingly given pain to any human being? Incline us to ask our Hearts these questions Oh! God, and save us from deceiving ourselves by Pride or Vanity. 

Everything about Austen’s petitions to God in this prayer revolves around the formation of a virtuous character. First of all, she wishes that her ‘repentance’ may be ‘sincere’, and her ‘resolutions’ to lead a more virtuous life ‘steadfast.’ But how are we to achieve such sincere repentance? For Austen, it is through the examination of our disposition. She invites God to bring to her knowledge ‘every fault of Temper and every evil Habit’ in which she has ‘indulged’. As you can see, the focus here is not on resolving never to do one specific ‘bad’ thing again; rather, it is on getting rid of bad habits, so that you will not even be tempted to do that bad thing in the future. This becomes even clearer in the final section I quoted: ‘Incline us to ask our Hearts these questions Oh! God, and save us from deceiving ourselves by Pride or Vanity.’ Achieving virtue is a matter of a sentimental education, in the sense of having the right feelings; for Austen, a devout Christian, this can only happen with God’s aid. Both Lewis and Macintyre, then, got it right. Lewis is right that Jane Austen is deeply concerned with the fictions which we tell ourselves, and which lead us away from goodness. She asks God to save her from ‘deceiving’ herself by ‘Pride’ and, like Lewis shows, whenever one of her heroines falls precisely into this trap, a process of ‘undeception’ always takes place. But Macintyre is also right in pointing out that undeception cannot take place until we train our ‘Hearts’, not just our heads, into a habit of virtue.  

What both Macintyre and Lewis guessed from Austen’s novels, we can experience and understand more directly by reading Austen’s prayers. We learn from her direct addresses to God how seriously she took the sin of pride, and how highly the virtue of humility ranked for her. We learn that no true repentance can happen without regular self-examination and confidence in God’s forgiveness. We learn that true virtue can only be gained through habit, and that constancy in practising virtues like humility and charity is crucial, even in the face of our own mistakes. If you are already someone of faith, I urge you to read Austen’s prayers and make use of them in your prayer life. If you don’t consider yourself a Christian, I urge you to read her prayers nonetheless: you may find they help you on your way to the kind of self-examination, without which none of Austen’s heroes or heroines could have achieved happiness. 

Article
Books
Culture
Sustainability
Wildness
7 min read

Wild writers for those who wish to wonder

A wilderness reader for wintertime and beyond

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

Sheep around a frozen pond in a snowy landscape, a ruined cottage sits beyond.
Winter near Brno, Czechia.
Tomas Tuma on Unsplash.

We live in a time of decreasing biodiversity, reduced access to wilderness, and worsening mental health, and these things are, I think, linked. I wrote a bit about this recently. We are intimately tied to wilderness. We evolved on a diverse, living planet – not separate to it, but in it, dependent on it. It can be easy to forget this in part because we manipulate the world with lights and schedules and ideas of progress; we seal ourselves away in the walls of home, of work, of shops. Some of us live within the walls of church, too – disconnecting us from a wild God who increasingly to me seems most at home under the loud silence of the stars, and in the way the setting sun points to beauty before darkness, and in the way two people can bask in each other’s hearts. When I encounter love, and the loveliness of the world, I also encounter God.   

We are good at taking for granted the strange beauty of the planet. We are good at forgetting how to sit with wonder, how to even access it. The poetry of the Psalms tells us that “…they forgot what he had done, the wonders he had shown them...”  We must restore not only the living breathing wilderness of the planet we live in and on, but also our own ability to feel wonder, because this can be a first step towards feeling, caring, and acting.  

There are writers I turn to when I need to remember the diverse wildness and unlikeliness of our planet that is, as far as we so far know, an island of life in a cold and vast universe. When I read them, I wonder at our shared earth, at our hearts, and at the mysterious holiness of it all. Here then, some of those wild writers:  

Wendell Berry has influenced the way I interact with my locality, my faith, my responsibility to the earth I stand on. He is the author of essays, poetry, non-fiction and novels, but he is also a farmer in Kentucky. His preferred tools are a pencil and a team of work horses. For decades, his tending of both words and soil have each strengthened the other. His writing is rooted in the particularity of place, and through that, he speaks to the universality of our shared existence. His voice is incisive and honest, clear-eyed but full of a well-worn love. His call to a more localised and rooted way of life is not a call to escape, but to encounter – with beauty, with neighbour, with a spirit that breathes life through it all. In recent years, his writings have found new audiences. A good place to start, is The World Ending Fire: The Essential Wendell Berry. It contains a selection of his essays written over decades – essays that call out ideas of endless progress and the unthinkingness that feeds it. From here, you might turn to other collections like The Unsettling of America, or The Art of the Commonplace. His poems are earthy and beautiful – look at The Peace of Wild Things And Other Poems. For fiction, his best-known works are Jayber Crow and Hannah Coulter, rooted in the complexity of people and their community. At a time in which our planet burns faster than ever, his writing is prophetic and honest, yet braided with grace and love.  

The World Ending Fire is curated and has an introduction by Paul Kingsnorth: a writer I increasingly turn to. His story travels a path from environmental activism via explorations of various beliefs (including Wicca, Paganism, and Buddhism) to a recent – and unexpected to both him and many of his readers – conversion to Christianity. His journey is recounted in his essay, The Cross and the Machine. In his popular newsletter, The Abbey of Misrule, he writes essays that explore deep ecology, and ideas of a wild God, and of early Christian mystics who seemed much closer to the earth than many modern Christians do. His background in environmental activism still echoes – he cares for the world deeply, but his writing now, like his contemporary Dougald Hine, faces what might come when modern life as we know it becomes untenable. Like Berry, Kingsnorth brings an honesty to his writing that is often challenging to sit with. His collection of essays and talks, Confessions of a Recovering Environmentalist, was key in my own journey. He also writes fiction, set in a strange, old England. And his short book Savage Gods, in his words, “…marks a break in my writing, my style and my worldview. This slim semi-memoir is one long question about the value of writing itself, and about what it means to belong, or not to.”  

Another writer of honesty and clarity is Marylinne Robinson. She is a social critic and novelist, perhaps Gilead being her most well-known book. Her latest book, Reading Genesis, is an interpretation of the book of Genesis. She takes words that are often interpreted in two-dimensional ways and makes them come alive. She speaks not just to the complexities of faith, but of what it is to be human in this world. Throughout her work more broadly, nature is a recurring theme, symbolising beauty but also fragility, and pointing to wonder and to our own inner state.  

The late and beloved Mary Oliver points to the luminosity of the world. Whether small creature or vast landscape, she invites us to slow down and really look. She insists again and again that we “Pay attention. Be astonished. Tell about it.” Often, her writing helps me to touch the interconnectedness of the living world, and of our humanity. Each fragment she shows us feels part of a larger whole she is also pointing to, and for which she regularly expresses gratitude, inviting the readers to consider “what is it you plan to do with your one wild and precious life?” A good place to start is with Devotions, a collection of her most loved poems, or with Upstream, a mix of poetry and essays. Here, in the details of her daily walks and reflections, Oliver manages to conjure awe and a sense of the sacred.  

Another author who is extraordinarily attentive to the natural world is Annie Dillard. Her rapturous wonderings and explorations of world and place and self, link to deeper reflections, and often to the divine. Like Oliver, Dillard values specifics: “The sheer fringe and network of detail assumes primary importance. That there are so many details seems to be the most important and visible fact about creation.” Dillard weaves her senses with her reading, and often her humour, zooming out and reminding us that “the universe has continued to deal exclusively in extravagances, flinging intricacies and colossi down aeons of emptiness.” Her 1975 Pulitzer prizewinning Pilgrim at Tinker Creek is perhaps her best-known work, but a good place to start is Teaching a Stone to Talk; a slim collection of essays that begin with her observations of natural phenomena but end up encompassing the wilds of her mind and of its “ultimate concerns.”  

Poet, author, musician and playwright Joy Harjo was the first Native American to hold the position of Poet Laureate. She is a member of the Mvskoke Nation, and often explores themes of identity, history and social justice. Harjo weaves together past, present and future, linking our innate holiness with the natural world. A good place to start is the personal collection Conflict Resolution for Holy Beings, or for an insight into her life, try Poet Warrior which brings together memoir, poetry and song, singing often of regeneration in the face of darkness.   

A few others you might naturally turn to from these authors include the late essayist Barry Lopez (his last remarkable collection published in 2022 is Embrace Fearlessly the Burning World), novelist and essayist Ursula K Le Guin (her Earthsea trilogy is fantasy but offers I think a profound reflection on who we are), and Robert Macfarlane, who writes thoughtfully of nature and myth, inner and outer landscape. And the old Psalmists tell of beauty and wonder: Psalm 104, in the New King James version, contains leviathans and rock badgers, lions and moons, trees and humans, all of it singing together the great song of life – a life that is precious, earthy and holy; a life woven by a God who we hear in Genesis say, “let us make mankind in our image, according to our likeness.” God is plural, as diverse as his creation. I am grateful for the writers, just a few of whom I’ve shared here, who help me to pay attention to the diverse and strange beauty of the world, and through that, help me see its luminous holiness. That holiness – wholeness – depends on all of us, all of creation, being able to be itself. As Mary Oliver says:  

“…Whoever you are, no matter how lonely, 
the world offers itself to your imagination, 
calls to you like the wild geese, harsh and exciting – 
over and over announcing your place 
in the family of things.”