Jocelyn Harris. A Revolution Almost Beyond Expression: Jane Austen's Persuasion.(Book review)

Jocelyn Harris. A Revolution Almost Beyond Expression: Jane Austen's Persuasion. Neward: U of Delaware P, 2007. $54.50 280 pp. ISBN 13: 978-0-87413-966-2.

Similar to an attorney articulating evidence for a case, Jocelyn Harris' style in her new release A Revolution Almost Beyond Expression: Jane Austen's Persuasion, is methodical and precise. She employs an "if this, then that" method, using original letters and writings by Austen, Burney, Hazlitt, Goldsmith, Scott, and a host of others. Her main argument--that Austen had varied reasons and sources of inspiration for writing Persuasion--including socio-political ones--is deftly constructed, and, in general, convincing.

In the first chapter alone, Harris, in considering the possible sources of inspiration for Persuasion, uses "thus" or "in short" several times, expressing the culmination of her proofs (27, 29, 35). She also uses "undoubtedly" (24) and "certainly" (26) with some regularity. This continues throughout the book, where Harris additionally includes such phrases as "my investigation ... leads me inevitably to ..." (131) and "[this] confirm[s] that Persuasion is indeed the Romantic text" that it is argued to be (138). She uses decisive, clear verbiage and often recapitulates her specific arguments at the end of each chapter.

Interestingly, Harris admires these same stylistic characteristics in Jane Austen's writing--namely her precision and clarity. Harris contends that Austen writes methodically, revising frequently. She writes intentionally, carving and chiseling characters like Captain Wentworth, for instance, so that he carefully reflects her ideas. And she writes decisively, making sure that the final draft is lean. Like Penelope from the Odyssey, Austen is constantly "weaving, unweaving, and reweaving" until the completed tapestry is focused, cohesive, and convincing (70).

Harris does not necessarily identify an opponent in her book, or elaborate on the idea that some, for example, may think of Austen as apolitical. She simply relates the evidence--one piece after another--and then declares a verdict. In her chapter "The History of Buonaparte," for instance, she carefully argues that Captain Wentworth is based at least in part on Francis Austen, Jane's brother and a naval war hero. Francis' specific involvement in trying to defend England against France during the Napoleonic Wars, his service in the East Indies, St. Helena, China, and South Africa, and his stance against the slave trade, were all facts and characteristics that Austen interwove, at [east partially, into the character of Captain Wentworth. Harris ends her argument in this chapter with the statement: "Unpolitical, then, Jane Austen certainly was not" (88), continuing with "[i]n Persuasion, Jane Austen's extensive treatment of Britain's international affairs reveals her to be a truly political writer" (90). Austen forcibly warns against "the continuing danger from the emperor [Napoleon] even after Waterloo," making strong political commentary against "the continuing French threat" (88).