A Royal Receipt Unveils a Literary Secret

May 01, 2025

A Royal Receipt Unveils a Literary Secret

Jane Austen, who openly despised the Prince Regent for his scandalous behaviour, was ironically connected to him through his early purchase of Sense and Sensibility in 1811. Despite her reluctance, she dedicated Emma to him in 1815 at his request, crafting an insincere inscription that reflected her disdain.

The British monarchy's archives are a treasure trove of historical documents, brimming with stories of royalty and their ties to the world beyond the palace. Among the latest treasures to surface is an 1811 bill that uncovers a surprising link between Jane Austen, England’s beloved novelist, and the Prince Regent, the future King George IV. Dated October 28, 1811, this document reveals that the Prince was the first recorded buyer of Austen’s debut novel, Sense and Sensibility, snapping it up for 15 shillings—roughly £35 today—just two days before the book’s first advertisements hit the press. This find showcases the monarchy’s love for literature and exposes the tangled relationship between Austen and the scandalous royal she couldn’t stand.

On October 28, 1811, the first copy of Jane Austen's Sense and Sensibility was sold to Britain’s Prince Regent, later known as George IV. Remarkably, the Prince purchased the novel two days before its first advertisements appeared, as uncovered by a receipt found in 2018 within the royal archives. This discovery highlights the surprising early connection between Austen and the controversial royal despite her well-documented disdain for him.

When Sense and Sensibility hit shelves in 1811, Jane Austen was a nobody, publishing anonymously as “A Lady.” Her identity was a well-guarded secret, yet somehow, the Prince Regent became the first documented reader to own her novel. This revelation from the royal archives is nothing short of astonishing. It hints that the royal household had a keen ear for emerging literary talent, even from unknown authors. The bill’s existence also speaks to the era’s obsessive record-keeping—imagine logging a single book purchase! How did the Prince get his hands on the novel so fast? Was his librarian, James Stanier Clarke, tipped off about Austen’s brilliance? While the details remain elusive, this archival clue ties Austen’s fledgling career to the glittering world of royalty.

The Prince Who Scandalised England

The Prince Regent, later George IV, was the Regency era’s ultimate bad boy. His extravagant spending, string of mistresses, and rocky relationship with his father, King George III, made him a lightning rod for gossip and disapproval. In the conservative English countryside, his antics were downright scandalous. Jane Austen, whose sharp novels dissected excess and immorality, was no fan. Her letters drip with contempt for the Prince, with one scholar calling her view of him scathing. So, the irony is delicious: the man Austen despised was not only her first known reader but, years later, a vocal fan of her work. The 1811 bill transforms this dislike into a juicy historical paradox.

 

Fast-forward to 1815, and Austen’s Emma carries a dedication to the Prince Regent that’s practically a literary eye-roll. 

Fast-forward to 1815, and Austen’s Emma carries a dedication to the Prince Regent that’s practically a literary eye-roll. The inscription—“To his Royal Highness, the Prince Regent, this work is, by His Royal Highness’s Permission, most Respectfully Dedicated by his Royal Highness’s Dutiful and Obedient Humble Servant”—is so stiff and formal it’s been dubbed one of Austen’s worst sentences. A scholar winced at its awkwardness, and for good reason, Austen didn’t write it out of admiration. The Prince, via his librarian James Stanier Clarke, demanded the dedication. Clarke, who kept up a chatty correspondence with Austen, even pitched the idea of her writing a novel about the royal family. Ever the rebel, Austen shot it down, refusing to let royalty dictate her pen.

Letters, Gossip, and a Royal Fanboy

Clarke’s letters to Austen are a window into this odd literary courtship. He gushed over her novels and worked hard to tie her to the Prince Regent’s orbit. For Austen, royal attention was a mixed bag: it validated her growing fame but meant cosying up to a man she found morally bankrupt. By 1815, London was buzzing with rumours that the Prince admired Austen’s talent. Did he sense she’d become a literary legend? Probably not, but his fandom—however unwelcome—shows a side of the Prince that’s more cultured than his party-boy reputation suggests. Through this bill and Clarke’s letters, the royal archives paint a vivid picture of a writer grappling with unwanted admiration.

The 1811 bill also pulls back the curtain on Austen’s world as a struggling author. Publishing Sense and Sensibility at her own expense was a gamble, and at 15 shillings, the novel’s price was modest, fitting for a debut by an unknown. Yet every sale counted for Austen, who was building her name and financial independence. That the Prince Regent’s purchase came before the book’s official buzz suggests her work was already making waves in elite circles. This aligns with the Regency era’s booming literary scene, where novels were all the rage among the upper crust. The royal archives capture this cultural pulse, showing how even the monarchy was swept up in the novel craze.

Why the Archives Keep Surprising Us

The monarchy’s archives are a gift that keeps giving, and the 1811 bill proves their storytelling power. It doesn’t just spotlight Austen’s early days; it reveals the messy interplay between literature and royalty in Regency England. The Prince Regent, flaws and all played a cameo in Austen’s rise, first as a reader, then as an overbearing patron. His early grab of Sense and Sensibility and later obsession with her work hinted at the legacy she’d forge. Austen might have cringed at his fandom, but the archives show her novels reached even the most unlikely readers, proving their universal pull.

Ultimately, the 1811 bill is a sparkling footnote in Jane Austen’s epic story. It captures the bizarre collision of her literary ascent with the notorious Prince Regent, a man she detested yet couldn’t entirely dodge. With the grudging Emma dedication and Clarke’s eager letters, Austen navigates fame, principle, and royal pressure with her trademark wit. As the monarchy’s archives keep spilling their secrets, they deepen our love for Austen’s world and its colourful cast—from countryside spinsters to scandalous princes. Her novels, not the palace, ultimately stole the show.

Read more »

Northanger Abbey by Jane Austen

April 29, 2025

Northanger Abbey by Jane Austen

Northanger Abbey is one of Jane Austen’s earliest novels, although it was only published posthumously in 1818, along with Persuasion. Austen completed it as early as 1803 under the working title Susan. The rights to the novel were sold to the publisher Benjamin Crosby & Co. for £10; however, despite purchasing it, Crosby did not proceed with its publication, probably due to the author’s limited popularity at the time.

In 1816, many years after the sale, Jane Austen, through her brother Henry, regained the rights to the novel. She offered Crosby the chance to publish it, but he declined. Ultimately, Henry Austen ensured the work was published after Jane’s death. In 1818, Northanger Abbey was printed by the publisher John Murray, one of the leading publishers of the period.

The novel is a satire of the popular Gothic novels that dominated the literary market at the turn of the 18th and 19th centuries. The protagonist, Catherine Morland, a young and naive genre fan, allows her imagination, stirred by mysterious tales, to distort reality. Her fantasies lead to amusing misunderstandings, especially after she arrives at the titular Northanger Abbey.

Initially, the novel did not receive much acclaim. In the 19th century, both readers and critics preferred Austen’s other works, such as Pride and Prejudice and Sense and Sensibility, which focused on social relations and the emotional development of the heroines. As a literary parody, Northanger Abbey was seen as less severe and less valuable.

However, within the context of Austen’s entire body of work, Northanger Abbey stands out as her most humorous novel. Today, it is appreciated for its light tone, witty humour, and clever literary references, though it has not reached the popularity of her significant works. For contemporary readers, it remains an intriguing example of literary play with conventions and a subtle satire on the literary trends of the time.

ABOUT THE EDITION

We printed the entire edition on Century Laid paper, with a limited run of 25 copies. The text was set in Bunel Roman No. 2, an electronic version of the typeface originally cut by John Isaac Drury for Elisabeth Caslon. This typeface was popular in Britain at the turn of the 18th and 19th centuries. The Abbey was bound in the style of the era.

Octavo (160 x 250 mm); 2 volumes, finely bound by hand in full leather. The top edge gilt. In a slipcase.

CONDITION
Brand new copy in a fine binding.

 

Read more »