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. 

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4 min read

Deliverance in the dark: Springsteen’s Nebraska and the scars that shaped it

His starkest album emerged from a season of pain, where family, faith, and music collided

Giles is a writer and creative who hosts the God in Film podcast.

An actor playing Bruce Springsteen walks down a dark street, hands in jacket pocket.
Jeremy Allen White plays Springsteen.
20th Century Studios.

Springsteen: Deliver Me From Nowhere, starring Jeremy Allen-White as the titular rock star, follows Bruce Springsteen's attempt to make possibly his most unconventional album, Nebraska. This also happened to be one of the most difficult times of Springsteen's life, battling with mental health. Before the film's release, let's briefly explore some of the root causes of Bruce's depression, and find out what part family and the church had to do with it.

When it comes to Springsteen's discography, there's something of a disconnect between the casual fans' favourite and the album favoured by critics. Born in the USA is the monster hit album, with its era defining hits and blue-collar Americana. But Nebraska is the one that musicians and writers wax lyrical about. Written and recorded in a small bedroom in Colt's Neck, New Jersey, Nebraska is an album filled with acoustic melancholy folk tracks. With no conceivable singles and no chance of getting radio play, this was not the album that Columbia records wanted him to make, but it's the album Bruce felt he had to make.

"Nebraska was the pulling back of the bow, and Born in the U.S.A. was the arrow's release" writes Warren Zanes in his 2023 book, Deliver Me From Nowhere. In it, Zanes tracks with loving detail not only the technical problems of turning recordings that were only meant to be demos into songs that you could feasibly release, but also the mental health struggles that had driven Bruce to focus on such dark subject matter. It marked a moment of the artist unpacking his issues and answering the question: what do you do when you realise that the things you've loved most have begun to do you harm?

That harm can be traced back to Springsteen's early life in 1950s New Jersey. His father, Douglas 'Dutch' Springsteen, also suffered from mental health problems, at a time when there wasn't even the vernacular to describe such things. Dutch would grow to become jealous of the attention that his young son would get from the women in his family, which would exacerbate his existing paranoia. As well as being neglectful and demeaning, Dutch would also become violent towards his son. Springsteen describes in his autobiography how on one occasion, his father was teaching him how to box when Dutch threw a few open palm punches to his face that landed just a little too hard. "I wasn't hurt" Bruce writes "but a line had been crossed. I knew something was being communicated. […] I was an intruder, a stranger, a competitor in our home and a fearful disappointment". If this was young Bruce's experience at home, little respite was found in the outside world.

Springsteen grew up quite literally in the shadow of the Catholic church, and it permeated every aspect of his community. Bruce attended a Catholic school, where on one occasion he was hit by another student as a punishment from one of his teachers. This was compounded during his time as an altar boy, when the priest he was serving at a six am service gave him a public thrashing for not knowing his Latin. So before Springsteen started high school, he had been physically abused by his father, his school, and his religion. When these pillars of his life (who were meant to represent God to him) treated him this way, is it any wonder that young Bruce's take away from all this is that God is not a safe person to be around?

Years later, when Springsteen finally takes a break from the constant recording and touring cycle, he has no way to escape the damage done to him by the experiences of his early life. In Nebraska he illustrates the lives of down and outs, blue collar workers striving to get by, and even serial killers. The subject matter was so dark that when his manager Martin Landau first heard it, he started to worry about Springsteen's mental health. Thankfully, Springsteen would get the help he needed and forty years later, is a terrific example of someone who has done the work of tackling their own issues.

Where Bruce has landed on his relationship with God some forty years later is still quite hard to pin down. He's reluctantly adopted the adage of 'once a Catholic, always a Catholic' even if he admits he doesn't participate in his religion all too often.

There's no clear delineation point between him going from being a non-believer to a believer or vice versa, but that has not stopped him from creating some truly magnificent art with intense Christian themes. References to Jesus and the gospels pepper much of his musical output. Songs like Devils and Dust show the conflicted faith of a soldier in Iraq, whilst his song, The Rising, written in response to the terrifying events of September 11th, re-imagines the firefighters climbing the stairs of the twin towers as souls rising up to meet their maker. The finished product is a compelling anthem that would give even the most heartfelt worship song a run for its money.

It's quite possible that Bruce is interested in Christianity only in as much as it is woven into the thread of American life. How much the upcoming film will focus on his relationship with God or lack thereof is unknown, but the influence the church has had on him, for better or for worse, is undeniable.

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