The Watsons

This work was left by its author, a fragment without a name, in so elementary a state as not even to be divided into chapters, and some obscurities and inaccuracies of expression may be observed in it which the author would probably have corrected. The original manuscript is the property of my sister, Miss Austen, by whose permission it is now published. I have called it The Watsons, for the sake of having a title by which to designate it. Two questions may be asked concerning it. When was it written? And, why was it never finished? I was unable to answer the first question, so long as I had only the internal evidence of the style to guide me. I felt satisfied, indeed, that it did not belong to that early class of her writings which are mentioned at page 46 of the Memoir, but rather bore marks of her more mature style, though it had never been subjected to the filing and polishing process by which she was accustomed to impart a high finish to her published works. At last, on a close inspection of the original manuscript, the water-marks of 1803 and 1804 were found in the paper on which it was written. It is therefore probable that it was composed at Bath, before she ceased to reside there in 1805. This would place the date a few years later than the composition, but earlier than the publication of Sense and Sensibility, and Pride and Prejudice. To the second question, why was it never finished? I can give no satisfactory answer. I think it will be generally admitted that there is much in it which promised well; that some of the characters are drawn with her wonted vigour, and some with a delicate discrimination peculiarly her own; and that it is rich in her especial power of telling the story, and bringing out the characters by conversation rather than by description. It could not have been broken up for the purpose of using the materials in another fabric; for, with the exception of Mrs. Robert Watson, in whom a resemblance to the future Mrs. Elton is very discernible, it would not be easy to trace much resemblance between this and any of her subsequent works. She must have felt some regret at leaving Tom Musgrave's character incomplete; yet he never appears elsewhere. My own idea is, but it is only a guess, that the author became aware of the evil of having placed her heroine too low, in such a position of poverty and obscurity as, though not necessarily connected with vulgarity, has a sad tendency to degenerate into it; and, therefore, like a singer who has begun on too low a note, she discontinued the strain. It was an error of which she was likely to become more sensible, as she grew older and saw more of Society; certainly she never repeated it by placing the heroine of any subsequent work under circumstances likely to be unfavourable to the refinement of a lady.

J. E. Austen Leigh