Love and Friendship – Jane Austen (1787)

Love and Friendship, written in 1787 by a teenage Jane Austen, is a satirical epistolary novella that parodies sentimental literature and explores romantic and social absurdities with biting wit. Composed as a series of letters, the novella showcases Austen’s early talent for humor and sharp social commentary, setting the stage for the themes and style she would later perfect in her major novels.

Plot Summary

In the picturesque Vale of Uske, Laura grew up in a romantic setting surrounded by the love of her family. Her beauty and accomplishments were unrivaled, and her sensibility knew no bounds. When a mysterious knocking disrupted a quiet evening in December, it heralded the arrival of a dashing stranger, Edward, whose dramatic plight stirred Laura’s tender heart. She soon declared him the love of her life, and they were hastily married by her father, despite the brevity of their acquaintance. This impulsive union was the first of many extraordinary events in Laura’s tumultuous life.

Laura and Edward departed from her familial home to visit Edward’s aunt, Philippa, in Middlesex. There, they encountered Edward’s cold and disapproving sister, Augusta, who embodied the opposite of Laura’s refined sensibility. Augusta’s skepticism of their match, coupled with the unexpected arrival of Sir Edward, Edward’s father, led to a clash of wills. Sir Edward, appalled by his son’s disregard for parental authority, demanded Edward return home. The young couple fled to a friend’s estate, where they sought solace among like-minded souls.

At the home of Augustus and Sophia, Edward’s closest companions, Laura found a kindred spirit in Sophia. Both women, equally endowed with sensibility, formed an instant bond. Augustus, however, harbored a dark secret: he was living beyond his means. When creditors arrived, Augustus was arrested, and an execution was ordered upon his household. Laura and Sophia, overwhelmed by this catastrophe, fainted in despair.

Determined to escape the calamity, Laura and Sophia embarked on a journey to London to reunite with Augustus. Along the way, they faced further trials, including the tragic deaths of Laura’s parents and husband. Edward’s sudden demise, a result of a tragic accident, left Laura bereft. She spiraled into madness, her grief manifesting in incoherent ramblings that mirrored her heightened sensibility.

In her wanderings, Laura stumbled upon a modest cottage where she and Sophia sought refuge. Despite the kindness of the widow who hosted them, tragedy struck again when Sophia succumbed to illness, brought on by her many fainting fits. On her deathbed, Sophia advised Laura to eschew fainting in favor of the more invigorating exercise of running mad. Sophia’s passing left Laura utterly desolate, yet her resolve to honor her friend’s final advice kept her moving forward.

Laura soon encountered her grandfather, Lord St. Clair, in a chance meeting at an inn. His recognition of Laura and Sophia as his granddaughters brought a brief reprieve from her misfortunes, though his generosity extended no further than a few banknotes. Before Laura could savor this familial connection, he departed abruptly, leaving her once again in a state of uncertainty.

Seeking stability, Laura joined Sophia’s cousin, Macdonald, at his estate. There, she became entangled in the romantic entreaties of young Janetta, Macdonald’s daughter. With Laura’s guidance, Janetta rebelled against her father’s wishes to marry the unsuitable Graham, instead eloping with the more passionate Captain McKenrie. The fallout from this escapade led to Laura and Sophia being expelled from Macdonald’s home, forcing them to seek shelter under the open sky.

As they journeyed aimlessly, a violent overturning of a phaeton brought Laura face-to-face with Edward and Augustus, gravely injured in the wreck. Augustus succumbed to his wounds, while Edward managed only to utter a few words before he too perished. Laura’s grief intensified, manifesting in wild rants and visions. She eventually sought solace in a remote Highland village, where she could mourn in solitude.

As the years passed, the fates of those she had known became clearer. Augusta married Graham, a match that reflected her practical disposition. Sir Edward remarried, achieving his wish for an heir. Philippa’s fortunes waned, and her husband turned to driving a stagecoach for a living. Laura’s theatrical cousins, Philander and Gustavus, found success on the London stage under assumed names, their performances celebrated for their flair and dramatics.

Alone in the Highlands, Laura embraced her melancholy, reflecting on her losses and her enduring sensibility. Her thoughts lingered on Edward, Sophia, and the many trials she had endured, each a testament to her emotional depth. Though her days were marked by solitude, her heart remained steadfastly devoted to the memories of those she had loved and lost.

Main Characters

• Laura: The highly dramatic and self-centered protagonist who recounts her life’s misfortunes with exaggerated sentimentality. Her vivid, often ridiculous reactions to events serve as a satire of over-romanticized heroines.

• Sophia: Laura’s equally sentimental best friend and companion in melodramatic adventures. She mirrors Laura’s exaggerated emotional responses and shares her disdain for practicality.

• Edward Lindsay/Talbot: Laura’s husband, whose rebellious, impractical nature leads him to elope with Laura. His disdain for societal expectations highlights the novella’s mockery of romantic conventions.

• Sir Edward: Edward’s father, depicted as unsympathetic and mercenary, embodying the stereotype of the oppressive patriarch.

• Augusta: Edward’s cold and indifferent sister, representing a contrast to the hyper-emotional characters and reflecting Austen’s critique of detached and unfeeling social roles.

Theme

• Satire of Sentimentalism: The novella humorously exaggerates the tropes of 18th-century sentimental novels, mocking characters who prioritize emotions over reason. Fainting, dramatic declarations, and absurd coincidences abound.

• Critique of Social Conventions: Austen critiques rigid societal norms regarding marriage, gender roles, and familial obligations. Characters often rebel against these norms but do so with such absurdity that their actions are themselves a commentary.

• Friendship and Loyalty: Laura and Sophia’s friendship is central, marked by mutual support and shared disdain for societal expectations. However, their exaggerated devotion also serves as a source of comedy.

• Misfortune and Resilience: The characters face an endless stream of misfortunes, from sudden deaths to elopements. Their resilience, often expressed through melodramatic overreaction, pokes fun at the human tendency to overinflate personal struggles.

Writing Style and Tone

Jane Austen’s Love and Friendship brilliantly demonstrates her early command of parody and irony. Her writing style in this work is marked by distinct linguistic choices and the use of the epistolary form. The prose is intentionally hyperbolic, with characters employing florid, exaggerated language, such as declaring “I instantly ran mad.” These over-the-top expressions and reactions heighten the humor and simultaneously satirize the sentimental writing style prevalent at the time.

Furthermore, the novella’s structure as a series of letters is crucial to its comedic effect. By employing the epistolary form, Austen directly reveals the characters’ individual voices and inherent biases. This format allows the humor and satire to be especially effective, as the characters themselves narrate their own often ridiculous situations and predicaments. The overall tone is biting, irreverent, and playful, reflecting Austen’s early explorations in satire. This mocking distance ensures that the focus remains on the characters’ absurdity rather than any genuine sense of hardship.