Hmmph. There is a difference between 'grammatical misdemeanours' and SPELLING. Punctuation and the separation of paragraphs aren't grammar either, although these conventions make (grammatical) meaning more clear to the reader.
Maxwell Perkins was the editor for Ernest Hemingway, F. Scott Fitzgerald and Thomas Wolfe.
So?
If Austen had never lived, would we even have heard about William Gifford today?
I think not.
http://www.telegraph.co.uk/culture/culturenews/8080832/Jane-Austens-famous-prose-may-not-be-hers-after-all.htmlJane Austen's famous prose
may not be hers after all
She is the great English novelist renowned for her polished prose,
of whom it was once remarked: "Everything came finished from her pen."
By Anita Singh, Arts Correspondent
Published: 10:00PM BST 22 Oct 2010
Amongst Austen's grammatical misdemeanours was an inability to master
the 'i before e' rule Yet
Jane Austen couldn't spell, had no grasp of punctuation and her writing betrayed an accent straight out of
The Archers, according to an Oxford University academic.
Prof Kathryn Sutherland said analysis of Austen's handwritten letters and manuscripts reveal that her finished novels owed as much to the intervention of her editor as to the genius of the author.
Page after page was written without paragraphs, including the sparkling dialogue for which Austen is known. The manuscript for
Persuasion, the only one of her novels to survive in its unedited form, looks very different from the finished product.
"The reputation of no other English novelist rests so firmly on the issue of style, on the poise and emphasis of sentence and phrase, captured in precisely weighed punctuation. But in reading the manuscripts it quickly becomes clear that this delicate precision is missing.
"This suggests somebody else was heavily involved in the editing process between manuscript and printed book," Prof Sutherland said.
The editor in question is believed to have been
William Gifford, a poet and critic who worked for Austen's second publisher,
John Murray.
"Gifford was a classical scholar known for being quite a pedant. He took Austen's English and turned it into something different - an almost Johnsonian, formal style," Prof Sutherland said.
"Austen broke many of the rules for writing 'good' English. Her words were jumbled together and there was a level of eccentricity in her spelling - what we would call wrong.
"She has this reputation for clear and elegant English but her writing was actually more interesting than that. She was a more experimental writer than we give her credit for. Her exchanges between characters don't separate out one speaker from another, but that can heighten the drama of a scene.
"It was closer to the style of
Virginia Woolf. She was very much ahead of her time."
Amongst Austen's grammatical misdemeanours was an inability to master the 'i before e' rule. Her manuscripts are littered with distant 'veiws' and characters who 'recieve' guests.
Elsewhere, she wrote "tomatoes" as "tomatas" and "arraroot" for "arrowroot" - peculiarities of spelling that reflect Austen's regional accent, Prof Sutherland explained. "In some of her writing, her Hampshire accent is very strong. She had an Archers-like voice with a definite Hampshire burr."
Over 1,000 of these handwritten pages will be placed online from Monday as the culmination of a three-year project led by Prof Sutherland in collaboration with the
Bodleian Libraries, King's College London and the
British Library. The collection reunites the letters and manuscripts for the first time since 1845, when they were scattered by the terms of her sister
Cassandra's will.
They range from fiction written in early childhood to the manuscript for
Sanditon, the novel that Austen was writing when she died in 1817. Sadly, the manuscripts for
Pride and Prejudice, Sense and Sensibility and
Emma, her most famous novels, were destroyed after being set in print.
