All language subtitles for Jane.Austen.Rise.of.a.Genius.S01E02.1080p.iP.WEB-DL.AAC2.0.H.264-TBN

1803 - 27-year-old Jane Austen
dreams of being a published writer.

She has broken with convention,

turning down a marriage offer
in order to pursue her passion.

Jane has gambled.

She's gambled
everything on writing.

She's turned down the final,

the most plausible, offer
to marry into wealth.

At this point, she has to commit
herself to the life of a writer.

And the only question now is -
how ambitious is she going to be?

She says herself that she's
greedy. She wants profits.

She wants to make as much
money as she possibly can.

Jane Austen wants to be published,
but with all her ambition,

her ferocious intelligence,
even she might not have

foreseen that this
would come at a cost...

..and what that cost would be.

Today, few records of Jane
Austen's life survive.

But now, with the help
of writers, experts

and actors, we can piece
her story back together.

Jane Austen was a writer
teeming with new ideas,

who revealed profound truths
about the world she lived in.

There is writing before Austen

and there is writing
after Austen.

That achievement is enormous.

Jane Austen is the greatest comic
novelist we have ever produced.

At a time when women were
supposed to know their place,

Jane ripped up the rule book.

She's not just
writing about romance.

We should see her as
a political novelist.

She's telling young women,
"I see you and I hear you,"

which I think is
such a modern thing.

Austen's life is a tale of
ambition, struggle and tragedy.

SCREAMS

A genius cut down in her prime.

She's really good at
the light, the ironic,

the beautifully observed,

and then life drives
a truck into that.

This is the story of how
a self-taught country girl

from a Hampshire village defied
the conventions of her day

to became one of the greatest
novelists who ever lived.

Her voice is so strong
and funny and perceptive,

and her work's still being copied
and stolen by people like me.

She did what she wanted to do

and it makes me feel like I can
always do what I want to do.

Jane Austen has already
written Pride And Prejudice,

Sense And Sensibility

and Northanger Abbey.

But nobody outside her
family has ever read them.

If she's going to
survive in her new life,

she needs to get them published.

Jane Austen wants to be
famous, be known as a writer,

and she's starting
to feel impatient.

She's been writing brilliantly
since her teenage years.

That's a decade of good
writing in the bank.

She wants the next
thing to happen.

She's ready for the next phase.

In Northanger Abbey, Jane believes
she's written a brilliant novel.

Determined to find a publisher,

she enlists the help of
her older brother, Henry.

One of the Austen brothers'
star has been rising.

Henry has set up
a bank in London,

now living with the incredibly
hot wife, cousin Eliza.

Back from the moment when
she walks through the door,

having lost her last husband...

..she gains Henry Austen.

Henry and Eliza are
living in London,

so they're right in
the heart of society.

They'd have contacts in
the publishing industry.

Austen obviously has eyes on this
as a route to a publishing deal.

Henry and Eliza,
they're just a force.

They're like a power couple.

I can imagine him saying to
Jane, "I'll get you this deal.

"Don't worry, leave it with me."

Henry and Eliza's London
is a city awash with

the profits from
empire and trade.

It is an age of glittering
fashion, conspicuous consumption

and the relentless
pursuit of profit.

At the heart of this new world,

Henry uses his contacts to approach
famous publisher Benjamin Crosby.

Crosby agrees to buy the
rights to Northanger Abbey,

and announces his plan to
publish it in the press.

To get your first publishing
deal is a rush like no other.

You just want to go out
and scream in the streets

that someone wants
to publish you.

She's thinking this is just
all going so well for me.

This is just a whole new chapter
in her life as a female author.

But the celebrations
are premature.

Before her novel can go to
print, Austen returns to Bath.

Her father is ailing,

and it falls to the women of
the family to look after him.

George Austen is in his 70s.

He's an old man.

He's had a long life of
very hard work indeed

and he is not in good health.

George has always been
Jane's biggest supporter,

encouraging her to
follow her passion

at a time when many
fathers would not.

He is himself a
scholar, he's a moralist

and he's someone who
believes in her capacity.

He's prepared to go out and
advocate for her writing,

encouraging the expansion
of his daughter's mind.

It shapes her world,
it shapes her writing.

So, she wants him to be with her

and to be cared for by her.

While Austen cares for
her elderly father,

the idea for a new novel
starts taking shape.

Mirroring her own life,

The Watsons features
an ageing clergyman

whose daughters fear being
left penniless when he dies.

She's playing around with
the idea of auto fiction,

of using her own
biographical background

to work its way
into her writing.

This is a work where
the family in it

are as close to her family as
it gets in any of her writing.

The father isn't well, just
as Jane's father wasn't well.

And if he dies, that's trouble,

because there are too many
daughters and not enough money.

As fact and fiction collide,

Jane's fears pour
out onto the page.

There's a particularly striking
passage where an elder sister

in the story delivers
a stinging verdict

on the fate of unmarried
women later on in their lives.

And she writes, "I
could do very well,

"single... A little company... and
a pleasant ball now and then...

"..would be enough for me if
one could be young forever.

"But my father cannot
provide for us.

"And it is very bad to grow old
and be poor and laughed at."

It's bad enough to be old.

It's bad enough to be poor.

But the final indignity
would be to be laughed at.

Jane and Cassandra at this point

are conscious of the fact
that they don't have dowries.

When their father dies,
they will have nothing.

COUGHING

But before Jane can
finish her story...

..events overtake her.

SAMUEL WEST: Her father
becomes very ill.

She doesn't have
enough distance...

..and it's all a bit too real.

It's all a bit too
close for comfort...

..and she suddenly stops
writing the Watsons manuscript.

The final page of The Watsons
ends almost in mid-sentence

with a scene where the others
are playing cards downstairs

and Emma goes upstairs
and reads to her father...

..who is ill, just as Jane's
father is upstairs ill.

There's no distance
between fact and fiction

which would allow you to
escape into make believe.

It's all too real.

We know that, actually, she was
going to kill off the father

in this work.

One wonders if there is a sort
of horrible sense for Jane Austen

that, you know, art is
somehow bringing on life.

Austen spends this quiet,
enclosed and very intense time

with her dying father,
sitting and reading to him

as George gradually dies.

She loves her father deeply.

That moment of grief, I think,
affected her profoundly.

George Austen dies aged 73.

Bereft, Jane must break the news of
her father's death to her brothers.

"He was seized on Saturday with a
return to the feverish complaint

"which he had been subject
to for the last three years.

"To have seen him languishing
long, struggling for hours,

"would have been dreadful, and thank
God we were all spared from it.

"He did not suffer.

"He was mercifully spared from
knowing that he was about to

"quit objects so beloved
and so fondly cherished

"as his wife and... and
children ever were."

Gosh, that writing
is just so emotional.

She's able to
articulate something

so universal in that moment,

yet so thoughtfully written

as to try and soften the blow for
somebody else who wasn't there.

She is losing the man
who, up until this point,

has been her great
supporter as a writer,

and now he is gone.

A shadow of what
is about to come

is cast very, very
darkly over that moment.

The death of her father not only
takes a devastating emotional

toll on Jane Austen, it also
leaves her financially vulnerable.

BEE ROWLATT: Losing the father
who is still very traditionally

the head of the family has
implications for the Austen women.

It's now that the economic
realities are really laid bare -

that he hasn't prepared
at all for their welfare.

George Austen leaves
his family with nothing.

The women are now completely reliant
on their brothers for support.

Women are at the behest
of the men in their lives

who control the purse strings.

They have no power to extricate
themselves from the financial

place that they find themselves.

The Austen women are at the
complete mercy of the brothers.

Henry and Frank must decide how
much help they can afford to give.

"So you see, my dear Frank,

"she will be in the receipt
of a clear £450 per annum.

"She will be very comfortable.

"And as a smaller establishment
will be as agreeable to them,

"they will not only suffer
no personal deprivation,

"but will be able to pay occasional
visits of health and pleasure

"to their friends."

Very condescending,
very patronising.

How little empathy they have

for what their sisters
are living through.

And I think that just says
everything about the power imbalance

between the brothers and
sisters of this family.

Jane Austen is expected to wear
mourning dress for up to a year.

For women who can't afford
a new set of clothes,

this means dying your
current wardrobe black.

For Jane, poverty might be bad,

but to be laughed
at is far worse.

She writes to her sister.

CHARITY WAKEFIELD: "As I find
on looking into my affairs that,

"instead of being very rich,
I'm likely to be very poor,

"I cannot afford more
than ten shillings."

"It is as well, however, to prepare
you for the sight of a sister

"sunk in poverty that it may
not overcome your spirits."

I find this really compelling.

Jane and her sister Cassandra are
forced into kind of a poverty.

They're still doing better
than the lower classes.

They are in the gentry
class, but comparatively,

they're in a really,
really difficult situation.

Without enough money
to rent their own home,

the Austen women have no choice

but to lodge with their brother
Frank, who serves in the Navy.

Still mourning her father and
forced to live in a dirty,

crowded city...

..Jane has completely
lost her moorings.

SAMUEL WEST: The death of her father
seems to make her writing dry up.

She knows what she's
really good at.

The light, the ironic,
the beautifully observed,

the detailed, the fine.

And then life drives
a truck into that

and she can't write.

With The Watsons
still unfinished,

Jane finds herself in the grip
of every novelist's nightmare -

writer's block.

She probably thought
her life was over.

I can imagine that she would've
sunk into a very deep depression.

"I can't write, what's my worth?

"Who am I when I can't do that?"

You're just like,
"Well, there's...

"..there's nothing
really to live for."

Besieged with doubts and
fears about, you know,

how long can this go on

must have really worn her down.

It's as if she's as far away now

from being a writer
as she's ever been.

She just feels adrift.

That's really hard. This is a...

These are probably
the hardest years.

SCREAMS

She must now be
thinking, "What can I do?

"What are my options?"

And she knows her writing
gives her the way to do this.

I mean, otherwise
she's going under.

Jane's not only struggling
to produce new work,

she's also frustrated by her
publisher Benjamin Crosby.

It's been six years since he bought
the rights to Northanger Abbey

and it's still not in print.

DR PAULA BYRNE: So Jane Austen sits
down to pen a letter to Mr Crosby.

There's no father to
stand up for her now,

there's no brother
that is doing that.

And almost feeling, "If I
don't do it, nobody else will."

"In the spring of the year 1803,

"a manuscript novel in two
volumes was sold to you

"and the purchase money £10
received at the same time.

"Six years have since passed
and this work has never,

"to the best of my knowledge,
appeared in print."

It's a wonderfully
passive-aggressive letter.

This is a moment where we see
Jane Austen really standing up

for herself. Like,
she's really had enough.

"I can only account for such
an extraordinary circumstance

"by supposing the manuscript,
by some carelessness,

"to have been lost. And
if that was the case,

"am willing to supply
you with another copy."

She's almost
incandescent with rage.

I feel the rage in
that letter. I feel it.

"What has happened to this novel?
It was meant to come out years ago.

"I've been sitting
here waiting."

"Should no notice be
taken of this address,

"I shall feel myself at liberty to
secure the publication of my work

"by applying elsewhere.

"Mrs Ashton Dennis, M-A-D."

Silently seething, signs
herself with a pseudonym,

"Mrs Ashton Dennis, M-A-D."

Mad. She's mad, she's angry!

"M-A-D."

There's not much to
laugh about in this...

..in this period
of Austen's life.

But the fact that she signs what
becomes known as the Mad Letter,

cos she's REALLY mad about
what's been happening,

erm, that can't
be a coincidence.

And what she gets back
in return is inelegant,

condescending and lazy.

Jane's publisher
refuses to budge.

"Madam, it is true we purchased
a manuscript and paid £10.

"But there was not any time
stipulated for its publication.

"Neither are we
bound to publish it."

When Crosby bought
Northanger Abbey,

Gothic fiction was all the rage.

But nobody is interested
in that any more.

If Jane wants the book back,

she'll have to pay
£10 for the rights.

The reality is she doesn't have
£10 to buy back her own manuscript

because they've
had to live on it.

It's... It's been part of their
income and what has sustained them.

This is just the
most crushing blow.

Let down again.

She's feeling humiliated.

You could very easily
just pack it in.

You could really just
go, "What was I thinking,

"thinking I could be a writer?"

It must feel demeaning
of her own situation

and of her own lack of agency.

But there is one ray of hope.

As a boy, Jane Austen's
brother Edward was adopted by

wealthy relatives with
no children of their own.

He's now called Edward Knight.

For the Austens, this was a
chance to secure a better future

for one of their sons.

Edward still has a strong sense
of loyalty to the Austen family,

and in 1809 he's given the
opportunity to help them

when a house on his estate
falls vacant - Chawton Cottage.

Edward, after years of not
really supporting his sisters

and his mother in the way that
he perhaps ought to have done,

finally steps up to the mark and
reserves Chawton Cottage for them.

Finally, with Chawton Cottage,
they have a point of safety,

they have a point of stability.

They have somewhere
where they can settle.

The cottage is just 12
miles from Steventon,

Jane's beloved childhood home.

She hopes a return to her roots
will reenergise her writing.

It's a household which is
constituted entirely of women,

a republic in which the women
can order their domestic space

as they wish.

That's very significant indeed.

DR LOUISE CURRAN: Chawton
brings her stability,

allows her a kind of rhythm
to the day that works for her.

And so they divvy up the
chores so that the household

works around her writing.

They came up with a system whereby
Jane would make the breakfast...

..but then she would
be left to write

for the morning and maybe
some of the afternoon.

I think it provides a
space for her to think,

a kind of rhythm that probably
all novelists need, actually,

to just be able to sit down
each day and produce something.

Back in the countryside she loves
so much, the words start to flow.

DR PAULA BYRNE: She has this
incredible creative surge.

She gets her mojo back.

She's writing again.

Jane sets out to rework
an old manuscript

she first began
ten years earlier.

A tale of two very
different sisters.

All the experiences
in her own life

are getting reworked
into this manuscript.

Elinor and Marianne
Dashwood are left nothing

following the death
of their father

and must now find
security through marriage.

You must help them.

Of course. You must
promise to do this.

The story opens with a dying
father being reassured by his son

that he will look after
the women in the family.

A promise he will later break.

Help them? What do
you mean help them?

Dearest, I mean to
give them £3,000.

The interest will provide them
with a little extra income.

Such a gift will certainly
discharge my promise to my father.

Oh, without question
- more than amply.

One had rather, on such occasions,
do too much than too little.

Of course, he did not
stipulate a particular sum.

GREG WISE: What's glorious is
Austen uses the bad behaviour

of her brothers.

She takes it almost verbatim

and plonks it down in the
start of Sense And Sensibility.

It is better than parting
with the 1,500 all at once.

But if she should live
longer than 15 years,

we'd be completely taken in.

People always live forever when
there is an annuity to be paid them.

KATE ATKINSON: It's some
of her best writing.

It's subtle, but it's pointed.

And I think she's really
good at those kinds of...

..those interactions with
people where you see, erm,

viewpoints being
changed very cleverly.

Although to say the truth,
I'm convinced within myself

that your father had no idea
of your giving them money.

They will have 500 a year
amongst them as it is.

And what on earth could four
women want for more than that?

Their housekeeping
will be nothing at all.

They'll have no carriage, no
horses, hardly any servants

and will keep no company.

Only conceive how
comfortable they will be.

GREG WISE: The money
is chipped away and,

at the end of a couple of pages,

they've literally got
a packet of Smarties...

..and an Aldi voucher.

MELANCHOLY PIANO

About to be made homeless,

the two sisters respond very
differently to their predicament.

Elinor is sense,
Marianne, sensibility.

Marianne, can you
play something else?

Mama has been weeping
since breakfast.

LOUD, SOLEMN PIANO

I meant something less
mournful, dearest.

What I love is the fullness
of the female experience.

Marianne is not at all
girdled by responsibility.

Elinor shoulders everything.

And so with these
two characters,

she's really placed two sides of
her own personality in opposition.

Who's going to rule? Is
it the head or the heart?

Mirroring Jane's
own experiences,

the Dashwood sisters are offered a
cottage on the estate of a relative.

These women pressed together
with no money, no space, no hope.

And suddenly this thing appears.

You must run and fetch help!

In this sweeping adaptation,

Marianne is saved by a
heroic figure on horseback -

John Willoughby.

Pouring with rain,
there's thick mists,

and you hear a...
MIMICS A HORSE GALLOPING

..and a horse rears.

His appearance on the
scene is so highly charged.

Don't be afraid,
he's quite safe.

Are you hurt?

Only my ankle.

May I have your permission to
ascertain if there are any breaks?

SHE WINCES

CHARITY WAKEFIELD: Jane
Austen is not afraid to write

a little bit of
saucy steaminess.

Hearts would've been aflutter.

It is not broken.

It's so sensual and would've
driven young girls absolutely wild.

Can you put your
arm about my neck?

Allow me to escort you home.

GREG WISE: The first moment
they have of connection

is the ultimate
physical connection

of her body weight in his hands.

That's pretty sexy.

Did you see him? He expressed
himself well, did he not?

With great decorum and honour.

And spirit and wit and feeling.

And economy. Ten words at most.

And he is to come tomorrow.

Marianne, you must change.
You will catch a cold.

What care I for colds
when there is such a man?

You will care very much
when your nose swells up.

You are right. Help me, Elinor.

In this scene, I
think Jane's really

interesting in the way that
she flips that situation

and she invites you to fall
in love with this character.

And then later we discover that
he's really not so good as a person.

Willoughby abandons Marianne.

THUNDERCLAP

In this dramatic scene, she's
left alone and heartbroken.

Willoughby.

Willoughby.

BEE ROWLATT: You
feel it so vividly.

Austen's gift is to take us
right inside their human dramas

and their lived experience.

This wedding scene may
look like a happy ending,

but both Marianne and Willoughby
have had to give up on love

and marry for money.

This is not a fairy-tale ending.

We see Austen at
her most subtle,

because we're not entirely
sure that she thinks

this is a delightful
ending either.

It's something that Austen
looks at all the time is,

is what does it mean to settle?

What does it mean
to sort of be OK?

Those compromises
between money and love.

To make her readers feel
vividly what her characters

are going through, Austen pioneers
a ground-breaking technique.

The first draft of
Sense And Sensibility

had been written in a simple
style typical of the period,

taking the form of
a series of letters

written between
the protagonists.

It's a first-person exchange.

So one person saying,
"Oh, I did this,"

and the other person
saying, "I did this."

What she does is merge this
into a novel with a narrator.

So a voice above that's
describing the action

and the characters within it.

By fusing these two styles,

Austen keeps the individual
perspective of the characters

but puts them in the
voice of a narrator.

In this passage, Austen begins
by describing the action

as though observing it.

"Elinor and her mother rose up
in amazement at their entrance.

"He apologised for
his intrusion."

But then she slips into the
perspective of Elinor's mother

and her emotional
response to the action.

"Had he been even
old, ugly and vulgar,

"the gratitude and
kindness of Mrs Dashwood

"would have been secured by any
act of attention to her child.

"But the influence of
youth, beauty and elegance

"gave an interest to the action

"which came home
to her feelings."

COLM TOIBIN: I suppose we could
call it the third-person intimate.

She can give you, as the
reader, a sense that you're

actually in the room.

So that there is a fourth or
a fifth person in that room

who is the reader, who's able
to see each moment unfolding

in a way the characters
themselves don't quite.

But the scene then is
established not as a drama

between the characters,

but as a drama between
the reader and the page.

This is what she's refining.

Austen's technique will become
known as free indirect speech,

and it will change how novels
are written to this day.

Like all the great
advances, it's a huge change

that is so obvious that now we
can't imagine not having this.

This is the way that
literature is now written.

And, of course, Austen
pioneered that technique.

Sense And Sensibility
is Austen's third novel,

but as yet none
have been published.

Determined to finally
get into print,

she returns to London and
seeks out her brother Henry.

DR PADDY BULLARD: Henry, he
needs someone he can trust.

He has to use people with whom he
has a certain amount of leverage.

And the person he turns
to is Thomas Egerton.

Henry knows Thomas Egerton

from his time in the militia.

BEE ROWLATT: Thomas Egerton
publishes books about

military manoeuvres and
guns and strategies.

I mean, it's highly improbable

that he'll take on a book
about two teenage girls

and their love travails.

And yet, there it lands.

The question is - will they
be able to strike a deal?

This is a crucial
moment for Jane.

She's been planning this
moment all her life.

DR PAULA BYRNE: Ultimately, it was
Henry's connection with Egerton,

but Eliza, just
behind the scenes,

played just quite a silent
but encouraging part in,

"This is really important, we
really need this to happen.

"We really need to
get her published."

Thomas Egerton drives
a hard bargain.

There's evidence that Henry
and Eliza advanced money

to Thomas Egerton

to persuade Egerton to
publish Sense And Sensibility.

Finally, a deal is struck.

But Jane knows from experience

that getting a contract
is only the first step.

She needs to make sure
the book gets into print.

BEE ROWLATT: Austen is not going to
leave anything to chance this time.

She ups sticks and moves in
with Henry and Eliza in London

and bases herself
with the manuscript.

She takes charge of the edits and
the final proofs of the manuscript.

So she's actually there
kind of almost guarding it

to make sure that
nothing goes wrong.

"My dearest Cassandra,

"know indeed I am never too busy
to think of Sense And Sensibility.

"I can no more than a mother
can forget her sucking child.

"I have two sheets to correct,

"but the last only brings us to
Willoughby's first appearance."

Austen has been waiting for
this moment for over 17 years.

Finally, at the age of 35,

she is a published author.

KATE ATKINSON: To actually
be given the first copy

of your first printed book

felt quite euphoric.

Now she knows she's
a successful writer.

She's a successful,
published writer.

Not in her mind any more, not
on someone's else's desk -

in her hands, a real
object in this world.

BEE ROWLATT: All of the delays,
the rejections, the obstacles,

all of it. She's finally here.

Well, that feels amazing.

That feels really good.

And now that her book
is out in the world,

Jane is about to discover she
has readers in high places...

..no less than a prince.

The Prince Regent now
sits on the throne

in place of his ailing
father, George III.

He is the unlikely fashion
icon of this indulgent age.

He celebrates the start of
his regency with a banquet

so extravagant the guests
eat off a gold dinner service

costing the equivalent
of £5.5 million today.

The Prince Regent reigns over a
culture of carnal and culinary

excess, where waistlines
expand and necklines plummet.

For those with the
wealth to enjoy it,

it is an exciting
and glittering time

where art, music and
literature all flourish.

DR PRIYA ATWAL: For Jane,
this just absolutely

blows things out of the water.

Because if you've got
the Prince Regent -

yes, a notoriously
messy character,

but nevertheless the most
trendy gentleman around.

If he is endorsing your book,
then you officially have made it.

The ultimate celebrity
reader, Prince Regent,

absolutely adores it,
falls in love with it,

and the public fall in
love with it as well.

Boosted by the
royal endorsement,

Sense And Sensibility wins
plaudits from the critics.

TAMSIN GREIG: "The characters
are naturally drawn

"and judiciously supported.

"It reflects honour on
the writer who displays

"much knowledge of character,

"and very happily blends
a great deal of good sense

"with the lighter
matter of the piece.

"A very pleasing and
entertaining narrative."

Jane sells nearly 1,000
copies of the first edition,

double the usual print run.

She makes £140,

four times what an average
worker earns in a year.

Now Jane Austen has been
propelled to the very heart,

indeed the very pinnacle
of London society.

I mean, this is so exciting.

Come on!

"My dear Cassandra, I have
so many little matters

"to tell you of that I
cannot wait any longer

"before I begin
to put them down.

"I am getting very extravagant
and spending all my money."

Naturally, her publisher, Egerton,
is very, very keen to, er,

see what else she's got.

Here you go.

Bosh! Pride And Prejudice.

And this time round, it's
Austen who's calling the shots.

She demands payment upfront

and pockets over ten times
more than her first book.

The first edition soon sells out
and a second print run is ordered.

It is the novel
everybody's talking about.

It is THE novel of the day.

Now she has two incredibly
successful books behind her.

She's basking in the glory.

We see this whole
new side of her.

CHARITY WAKEFIELD: "We
drank tea again yesterday

"with the Tilsons
and met the Smiths.

"I find all these little
parties very pleasant."

Jane Austen discovered a
whole new side of herself.

She loves going to the plays.

She's going to parties.

She's a city girl.

I feel like she's living
for the first time.

"Above 80 people are invited
for next Tuesday evening,

"and there is to be
some very good music."

CANDICE CARTY-WILLIAMS:
She is having so much fun.

You feel this great
sense of achievement.

When you're young and when
you are good at something

and you feel passion
and you feel excitement,

and you know that you have
captured the world around you,

you think that you
can do anything.

But as Jane revels in her new life
at the heart of London society...

..she also turns
her writer's eye

on some of the bleaker
aspects of the capital.

Austen continues to
scan her surroundings.

And she witnesses
up close some of the

seedier aspects of London life,

and some of the people who
are definitely not benefiting

from all this wealth.

While the rich
indulge themselves,

the poor are crowded
into urban slums

to feed the demands
of the new factories.

Children as young as four
work at the machines.

Disease and
malnutrition run rife.

She's looking at the world
now as a whole and she's like,

"Oh, these things aren't right."

In London, Jane is confronted
by extreme social inequality.

One injustice in
particular stands out.

Britain's booming economy is
powered by the products of slavery.

Cotton, sugar and tobacco
all rely on slave labour,

and this demand has fuelled an
international trade in human life.

Guns and alcohol go to Africa.

Enslaved people are
transported to the Americas

and the raw materials they produce
are brought back to Europe.

DR PRIYA ATWAL: The
country is benefiting from

a massive influx of wealth.

Money is flooding in from
the slave plantations

as well as from trade
networks in Asia.

It's transformed British
society from the bottom up.

This inhumanity has
sparked a growing campaign

to abolish slavery and stand up to
the vested interests protecting it.

We have to remember at
this point that Jane Austen

is no stranger to stories -

stories quite close
to hand - of slavery.

Her father, George Austen,

had been trustee of a fund based
on a sugar plantation in Antigua.

So there was family
involvement with

the sugar plantations
of the Caribbean

and with chattel slavery.

But we also know that Austen is

inspired by the
abolitionist movement.

She's a particularly keen fan

of the greatest of the abolitionist
organisers, Thomas Clarkson.

She says that he is a sort
of hero to her at this point.

There are other sources as well.

Her brother Frank is writing to
her with tales of his, er, disgust

at witnessing chattel slavery when
he was sailing around the Atlantic.

It's there in her family,
it's there in her reading.

This is a live issue for her.

CANDICE CARTY-WILLIAMS: It
feels like now is the time to

talk about not just the
small world around her,

but the politics of the
world that she sees.

She understands that she has a
voice and she's going to use it.

She's pushing herself.

She's testing the boundaries.

What can she do?

She thinks, "I'll do
something really different.

"It's going to be quite serious.

"There aren't going to
be quite so many jokes,

"and there's going
to be shadows.

"This will be a
book of shadows."

And the shadow is
the slave trade.

The shadow is women, suppression,
women being silenced.

Austen sets about writing her
most challenging work to date.

A novel about an impoverished
girl who comes face-to-face

with prejudice when she is sent
to live with wealthy relations

on an estate called
Mansfield Park.

Mansfield Park has been built on
the spoils of the slave trade.

The head of the house has
plantations in Antigua.

This is a novel of a
whole different magnitude

to the bright and sparkling
Pride And Prejudice.

Calling the house Mansfield
Park is deliberately ironic.

Mansfield, to the
people of that time,

means Lord Mansfield,

one of the foremost
judges of his time.

Two of his judgments played
a large part in the movement

that was beginning to recognise
that slavery was not acceptable.

And he says that, "In England,
we do not have slaves."

So, while the house has
been built on slavery,

the name Mansfield is associated
with the abolition movement

that opposes it.

BEE ROWLATT: Jane Austen's
being very politically overt

by invoking Mansfield.

That's a huge klaxon, that's
a ginormous flashing red light

going, "Slavery,
slavery, slavery."

That's what it says to
a contemporary audience

right there in the title.

DR LOUISE CURRAN: There's
something very, very dark

and unsettling about this
novel at the heart of it.

It's the only one of her novels

where she gives us the
background to the heroine.

Fanny, he's here.

Austen explores inequality
through the eyes of an outsider

thrust into a world of wealth.

Give my regards to my
sisters. Yes, Mama.

And you will write to tell
me when I am to return?

Austen shows us the childhood

and Fanny Price being uprooted
from the home that she's known,

going into Mansfield Park.

Now, let us have a look at you.

Well, I'm sure you
have other qualities.

And these terrible,
really affecting scenes

are really powerful.

Dear Susie, it seems that
mother has given me away.

This child completely bereft,

crying and sobbing.

Fanny Price grows up
with her extended family,

but is never
treated as an equal.

We see her constantly belittled
and kept firmly in her place.

What do you think, Miss Price?

I'm sorry to disappoint Mr Crawford,
but I do not have a ready opinion.

I suspect you're almost entirely
composed of ready opinions

not shared.

Fanny.

Yes, Aunt Norris?

What are you doing here?

I beg your pardon?
You are aware, surely,

that the sewing wasn't cleared
away from yesterday afternoon.

Oh.

Yes, you're quite
right, it wasn't.

I'll, er...

KEN LOACH: She's humiliated.

I'll see to it immediately.

The fact that Fanny
doesn't say a great deal

leaves the reader
with the anger.

The frustration the reader
feels is anger on her behalf.

And that's a much
more powerful way

of, erm, communicating

what Jane Austen wanted
the reader to feel.

Part of Austen's genius
is structuring a novel

so the reader knows that something
is going on as undercurrent,

as something barely mentioned,
is actually dominant.

But you as the reader are
the only one to realise this.

At the heart of Mansfield Park,

there's a really
important moment

when the very oppressed
and silenced heroine

makes this sort of
shocking observation.

Do tell us more about
the negroes, dear.

Yes, the mulattos are
in general well-shaped,

and the women especially
well-featured.

I have one so easy and graceful
in her movements and...

In this adaptation, Fanny
Price confronts her uncle

in a highly charged scene.

Fanny, the person who's always
been quiet, who's overlooked,

who's talked over, who's
pushed in the corner,

she has the temerity to ask Sir
Thomas about the slave trade.

Anyway, I've a good mind to
bring one of them back with me

next trip to work
here as a domestic.

Correct me if I am
in error, Sir Thomas.

But I've read, sir, that if you
were to bring one of the slaves

back to England, there
would be some argument

as to whether or not they
should be freed here.

If I'm not mistaken.

That silence is very
deafening in the novel.

It almost mirrors
conversations that we have now,

or I have now, around slavery.

No-one really wants to listen.

No-one really wants
to engage in it.

Erm, and I think it's...

..it's kind of devastating.

Because it's easier to turn
a blind eye because you are,

I guess, complicit in it, or...

..you benefit from
it in some way.

I think there's one way
we can read her, you see,

as a political novelist, as
someone who's constantly alert.

Not merely to the
day-to-day things,

but to the large questions of
class and movement in England.

How, where money comes from.

And that she can find
ways of describing this

or dramatising it
which are not obvious.

That we can read this novel
as being a private novel

about private life if we want,

but I think at our peril, because
large questions are coming into it.

It's about a really, really broad
spectrum of what slavery means.

And about people as commodities,

and treating people badly.

Austen ultimately shows
us the consequences

when those without power try
to stand up for themselves.

Fanny is banished from
Mansfield Park back to poverty.

KATE ATKINSON: It's one of the
great set pieces in her novel.

We see Fanny Price's awful home
in Portsmouth - just awful -

and she realises
that her idea of home

that had been so potent
is again overturned.

She's re-traumatised.

Mother!

Fanny!

Come, come in.

You must be exhausted
from your journey.

No, it's surprisingly
short, really.

Look at you.

So...

Betsy, get father up! Come in.

Fanny's homecoming
is both deeply moving

and deliberately unsentimental.

So, er, did you have a tiring
journey? You must be exhausted.

Oh... Betsy!

I got him up yesterday!

This scene is really very
realist sense of poverty.

Not with disgust, just
really straight-up reported.

"Her eyes could only
wander to the table,

"cut and notched
by her brothers.

"The cups and saucers
wiped with streaks.

"The milk a mixture of
moats floating in thin blue.

"And the bread and butter
growing every minute more greasy

"than even Rebecca's hands
had first produced it."

It's quite striking
in this description

of a small, humble family space.

It's just a straight-up telling
of this is how this family lives.

Almost moving in the
direction of Hardy or Dickens.

We see an author
growing, I think.

This depiction of chaotic
working-class life

is a departure from
the genteel poverty

of Austen's previous stories.

It is social realism.

There's a sort of abrasion
that she's writing about

that doesn't exist
in the other novels.

There's nobody else writing
this kind of prose at this time

and writing these
kinds of scenes.

SOBBING

It feels very contemporary.

You know, she's already
a great novelist.

She's on the cusp of becoming
an absolute genius novelist,

I think, of pushing
all the boundaries.

Jane is about to push
even further into

uncharted creative territory.

But she will have
to do it alone.

Her sister-in-law,
Eliza, is dying.

Eliza has been this force
of nature in Jane's world,

different from all the
other women she knows.

More independent, more
exotic, more glamorous.

But she has cancer.

DR PAULA BYRNE: The person that
Eliza wants to nurse her in this

final, agonisingly
painful battle

with breast cancer

is Jane Austen.

Her calming, soothing presence
is required in her final hours.

BEE ROWLATT: Once more, here she is
at the deathbed of someone that's

inspired and trusted
her and encouraged her.

An early figure of inspiration
and of female solidarity.

It's another body
blow for Austen.

Eliza dies on the
25th of April 1813

with Jane at her bedside.

Jane has lost a close friend

and her loudest
literary cheerleader

just at the moment in her
career when she needs her most.

In 1814, Mansfield Park,

Austen's most political
work, is published.

DR PADDY BULLARD: It's
obviously a novel that she feels

immensely proud of.

She feels its weight, she
feels its gravity as a fiction.

The thought of what her
readers are going to feel

and think when they
respond to Mansfield Park,

and there's so much to
respond to in that novel.

Thanks to the popularity
of her previous books,

the first print run sells out.

But her readers are
left unimpressed.

And worse still, there's a
deafening silence from the critics.

Even all these years later,
there are still only some of us

who love Mansfield Park,

and critics just
ignore the book.

TAMSIN GREIG: Jane gets
no critical feedback -

no reviews, no critical
acclaim, nothing at all.

A wonderful, terrible silence.

And in an echo of
what, you know,

Fanny Price not having a voice,

the book doesn't have a voice.

No-one hears it.

You create something, a
piece of art, a work of art,

and if nobody comments on it or
there's no feedback about it,

it is as though
you are invisible.

You don't exist.

Aged 39, Austen has
published three novels

and earned enough to live
independently as an author.

But as she's attempted
to tackle bigger themes

and gain respect as an
artist of substance,

the critics have ignored her.

Jane realises that, if she
wants to pose big questions

and challenge social convention,

she must do it through a more
engaging and entertaining character.

She will create a new heroine,

and she will call her Emma.

Jane is facing homelessness.

She needs profits.

She needs to make as much
money as she possibly can.

And then she is cut down at
the very peak of her powers.

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