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. 

Review
Culture
Film & TV
Trauma
5 min read

Unforgivable: Jimmy McGovern’s brave storytelling

Intelligent, understanding, and compassionate stories of a family affected by abuse

Henry Corbett, a vicar in Liverpool and chaplain to Everton Football Club.  

  

A family sit together watching a trial in a court.
BBC.

Jimmy McGovern would rather be called a storyteller than a writer. 

And what important, life-changing stories he has told. 

His 1996 TV film Hillsborough told the true story of the disaster in which 97 Liverpool supporters lost their lives. His 2014 story Common was written after he received a letter from a woman whose son was in prison unjustly under the Joint Enterprise Law. His 2017 BBC series Broken showed a caring priest dealing with a mix of situations, including the often hidden, catastrophic effects of gambling addiction. 

In those, as in all the stories he has told over the last 45 years, he seeks to serve the story, to be each character’s best barrister where possible, and to help an understanding of the often-complex situations the characters find themselves in. 

Brave, important stories, and here is another extremely brave story. 

A psychologist who worked with sex offenders contacted McGovern with the stories she was encountering in her role, and she mentioned the disturbing fact that so many people who abuse children have themselves been abused. A story that needs to be told? So to Unforgivable

Joe, played by Bobby Schofield, is in prison for sexually abusing his young nephew Tom. Tom blames himself for not saying more at the time. Joe’s sister Anna, played by Anna Friel, is trying to cope with her son Tom’s silences that are only interrupted by a “Yes” or a “No”. She has to go into school after Tom has been involved in a fight and amidst all this her and Joe’s mother dies, “from a broken heart”. Who broke her heart? Joe, surely. Joe’s father Brian, played by David Threlfall (the cast are all brilliant), agrees with his daughter Anna: they are both furious with Joe. His mother was the only person from the family who visited Joe in prison. Joe cannot come to his mother’s funeral. And young silent Tom has an older brother Peter who sits at the table with a stressed mother Anna and a non-communicative younger brother Tom. The whole family is blitzed. 

The mother’s funeral happens, and then Joe’s release date from prison comes. Where can he go? Right safeguarding procedures are put in place and he goes to St Maura’s, a place under the caring watchful eye of Katherine, an ex-nun, played by Anna Maxwell Martin. 

Joe is ashamed, penitent: “I am just a piece of s**t”. He gets spotted as he walks alone by the River Mersey and gets beaten up. In hospital the nurse asks “Why?”. He tells her that he is a child abuser and wonders if the nurse will continue to help him. She does. Is his life worth living, shunned by family, beaten up by lads who know him? 

Two things move him to action. The ex-nun goes with him to therapy sessions and tells him of her breast cancer. He is sorry to hear that. And he tells her the story of his abuse at the hands of Mr Patterson the football coach of his very successful under-12 team, and not only of his abuse but of one of his team mates too. 

The case against Mr Patterson goes to court, the family hear of Joe’s abuse, and Anna has another level of stress to deal with: if the abused often become abusers, then what about her Tom, will he become an abuser? Of course, not necessarily, and the other abused player tells Joe he didn’t go on to become an abuser. 

Not for one moment is the drama being soft on the horrors of child abuse. Joe was wrong, totally wrong. His act of abuse has and is affecting the whole family massively and tragically, and he should go to prison, serve his sentence and when he comes out there should be vigilant, effective safeguarding measures put in place to stop any repeated abuse. And child abusers can be very manipulative, can put on acts of contrition, and go on to abuse others. Not for one moment should we lower our guard. 

So where does this leave us? Many of us at some stage may be in the company of a family where a shocking, shattering act of child abuse has taken place. How do we respond? Do we blank the offender, wish them dead or in prison with the key thrown away? Are they inhuman monsters, just “pieces of s**t” as Joe describes himself? But Joe is a human being, he does seem penitent, and he was himself abused and he has taken his abuser to court to stop that person abusing others. What of others in the family? Anna’s hate, the father’s hate, the older brother feeling side-lined, Tom’s monosyllabic “yes” and “no”s, the desperate burdens they are carrying. How do we respond to them? 

A story-teller’s role is sometimes to ask awkward questions. Here is a final awkward question: is Joe forgivable or unforgivable? 

It’s also an ancient question. The unforgivable sin that Jesus talks of is the sin against the Holy Spirit, and that is calling good evil and evil good. Joe calls out his abusive act as the work of a piece of s**t. He goes after the person who abused him to prevent others suffering from a horrible, wrong, bad, traumatising act. 

I’ll finish with thoughts from people who know something of abuse, torture, injustice. 

Bryan Stevenson, the American lawyer and activist who has worked with many people on death row, says: "Each of us is more than the worst thing we've ever done." 

Desmond Tutu and his daughter Mpho who lived through the atrocities and abuses of apartheid say in their Book of Forgiving that forgiveness is not easy, is not a sign of weakness, is not forgetting, and is not quick. They suggest a fourfold path: telling the story, naming the hurt, granting forgiveness, and, depending on the situation, renewing or releasing the relationship. 

Jimmy McGovern tells the story and names the hurts movingly, bravely, and compellingly. 

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