It is a May morning in East Hampshire， 1811. Jane Austen’s Orleans plums are budding. From her letters and relatives’ recollections， I have an imagined portrait of the author， sitting in her favorite spot： near the front door of the cottage， at a small， twelve-sided walnut table， writing on tiny sheets of paper. At the creak of the front door， the pages are tucked away. On this day， her family gives her seclusion1， if not quiet. Page after page is filled with her tiny writing： dip， hover， scribble， cross out， scratch and dip. She works quickly， because she has little free time， and concentrates intensely because she has no quiet study of her own. Every so often， she puts down her quill， and conjures up a vision： Fanny Price trembling for the rake Henry Crawford， or stewing over the wickedness of theatre.2 Then she picks up the pen， and starts again. Eventually the sounds of cooking， cleaning and talk are too much. The plots and subplots of her novel chafe3. The clanking pots and servants’ chatter are jarring， and her eyes hurt. Enough. Austen puts her pen in the inkwell， and walks out into Chawton Cottage garden.

I am pretty well in health and work a good deal in the Garden. Jane Austen， letter to Anna Austen， July 1814我身體尚好，大把时光都打发在花园里了。—— 简·奥斯汀，1814年7月，致安娜·奥斯汀信

Let us have the luxury of silence. Edmund Bertram， in Jane Austen’s Mansfield Park让我们享受沉默的奢侈。—— 埃德蒙·伯特伦，记于简·奥斯汀的曼斯菲尔德庄园

　　It is an instant break from the cramped dining parlour. The air is fresher， the light brighter. There is room to move. As her letters record， Austen notices the mock orange’s bold white petals and thick， sweet scent. The peony， a recent migrant from Asia， has blossomed again. And what Austen does not see， she anticipates： pinks， sweet williams， columbines and fat plums. She walks slowly， looks carefully， breathes deeply. But not for too long—Austen has the usual chores and errands for the afternoon， and her unfinished manuscript goads4 her from the parlour. But by the time she returns indoors， with her characteristic businesslike step， the garden has already done her good. Jane Austen returns to her tiny workbench refreshed—not by books or gossip （both in good supply）， but by a short holiday amidst Chawton’s fruit trees， clipped turf and exotic imports.
　　With these working habits， Jane Austen wrote her last three novels in about four years—three of the most beloved books in English literature： Mansfield Park， Emma and Persuasion. Despite sickness， domestic duties and the bittersweet ties of family， Austen kept scratching away on her tiny table， creating her incomparable characters.

White Glare

　　Jane Austen was not always so prolific. Without a garden， her writing suffered. In December 1800， the very month of her twenty-fifth birthday， Austen basically stopped writing for a decade. She penned letters， of course—perhaps thousands， even if we only have a handful now. Nevertheless， her novels were left mostly untouched. She sold Lady Susan to a shortsighted publisher， who shelved it （holding it for 10 ransom5）. She tried writing a new novel， The Watsons， but its gloomy， embittered story went nowhere. From 1800 to 1809， Austen’s books disappear from the public and private record. The woman whom literary critic FR Leavies called “the first modern novelist” was barely writing at all.
　　Behind Jane’s silence was a four-letter word： Bath. In December 1800， her ageing parents announced their retirement： Mr and Mrs Reverend George Austen， and their unmarried daughters Cassandra and Jane， were moving to Bath， on the west coast. Once a Roman resort， and then an English one， Georgian Bath was a brand-new， fashionable holiday destination and health spa. Aristocrats and the rich took vacations there， immersing themselves in the sea， the hot springs and the Pump Room gossip. Architecturally and archaeologically， the city was exciting. Roman ruins and artefacts stood alongside grand new hotels and shops， chiselled6 from Bath stone. And Bath’s urban amenities were balanced by the charm of the local countryside， where a pleasant stroll was never far away—including Prior Park， with its grotto， Palladian bridge and wilderness. “Bath is the finest place on earth”， wrote Dr Johnson’s biographer， the often-pickled whore-hound James Boswell， “for you may enjoy its society and its walks without effort or fatigue”. For many， Bath was a vibrant， beautiful city， which offered all the modern comforts and amusements， without London’s grime and sprawl.7
　　Jane Austen may have enjoyed Bath as a visitor. But as a resident， she hated it. Even in sunshine she thought it ugly. “The first view of Bath in fine weather does not answer my expectations”， she wrote to her sister in her first year in the new town. “I think I see more distinctly through rain”. She didn’t like its ceaseless balls and parties， its flirtatious mood or its stone （“white glare”， she dubbed it in Persuasion）.
　　Even if Bath had been virtuous and quiet， it was sorely missing one thing： It wasn’t her town in rural Hampshire， with her private garden. It wasn’t Steventon， where she was born and raised， and where she wrote her first three novels. Apart from two brief， painful exiles for schooling， Austen had lived： for a quarter of a century—her whole life， in other words—in Steventon. A small village surrounded by agricultural land， Steventon was home to perhaps thirty families， alongside the requisite corps of chickens，8 cows， horses， sheep and pigs. Jane’s father， George， was the parson， and schoolteacher to many of the local boys （including five of Jane’s brothers）. If she was excited by the “bustle” of a journey west， and the promise of seaside living， Austen still felt a loss. 　　Country Hampshire wasn’t Arcadia9： it could be freezing， lonely and dull. No doubt the village’s size and isolation occasionally stifled Austen’s expansive imagination. Before she left， she wrote to Cassandra， suggesting that her village had grown tiresome to her. But this reads like irony or bravado， not genuine complaint. Steventon was her home， and her archetype of civilized， genteel10 life. Its intimacy， airiness and domestic rhythms were crucial to her wellbeing. “The same household routines and daily walks in the garden… the same sounds and silences”， writes her biographer Claire Tomalin， “all these samenesses made a secure environment in which her imagination could work”.
　　So part of Jane Austen’s silence was undoubtedly shock： the sudden， unavoidable removal of her security. She was accustomed to change： travelling， life’s unexpected grief and her parents’ economic uncertainty， which she handled with her trademark stoicism11. But Steventon was one tangible， familiar constant—the promise of home， after so many trips away. The landscape， neighbors， weather； the familiar walks， visits and conversations； the intricate knot of identity that entangles a place—nothing in polite， modern Bath could measure up to this. The Austens’ new terrace12 house was large， comfortable and located away from the city’s thumping heart. But it wasn’t Hampshire’s agrarian parsonage， and there was no familiar garden to escape to.
　　While she kept busy with travelling， socialising， bathing or the duties of “Aunt Jane”， Austen lost her voice in Bath—she left it in Steventon， soon occupied by her eldest brother， James， and his second wife， Mary （whom Jane disliked）. Her letters， once lively， portray Austen as deflated， if not depressed.

Syringas in Southampton

　　With the return of a private garden came Austen’s familiar energy and productivity. In 1806， she moved with her widowed mother and sister to a new home， Castle Square， in Southampton on the Hampshire coast. Alongside snark and trivia， some of Jane’s later letters gleam with enthusiasm for the landscape. She was back on home turf—still maudlin and grumpy，13 but closer to familiar ground.

　　In February of the next year， she wrote Cassandra a long epistle14， which she hoped was interesting. “I flatter myself I have constructed you a smartish letter”， wrote Austen in her closing lines，“considering my want of materials， but， like my dear Dr Johnson， I believe I have dealt more in notions than facts”. For most of the letter， of course， she grumbled. She complained that Cassandra was so long returning to Southampton. She noted that other folk were having babies and taking lovers—not her. She carped15 about sole （or its absence at the markets）. And she lamented the loss of shyness in England， replaced by confidence. There’s a Pythonesque16 tone to Austen’s letters—as if she were about to burst out with： “You had fish？ Luxury. We had to salt some coal and call it cod”. 　　But amidst the groaning and bitching is a lovely passage. There is a quiet exuberance， missing in so many of her Bath letters； a playfulness， untinged with cynicism or coolness， suggesting a genuine change of mood. It describes the garden at Castle Square， and it’s an arresting17 glimpse into Jane Austen’s inner life. It’s worth quoting the “authoress” （as she called herself） at length：
　　Our garden is putting in order by a man who bears a remarkably good character， has a very fine complexion， and asks something less than the first. The shrubs which border the gravel walk， he says， are only sweetbriar and roses， and the latter of an indifferent sort； we mean to get a few of a better kind， therefore， and at my own particular desire he procures us some syringas. I could not do without a syringa， for the sake of Cowper’s18 line. We talk also of a laburnum. The border under the terrace wall is clearing away to receive currants and gooseberry bushes， and a spot is found very proper for raspberries.
　　This tone of easy delight returned in later letters， once Jane was living in her final home， Chawton Cottage， and working on her last novels. Before settling in the house （which Jane hadn’t yet seen）， she wrote to her brother about the grounds.“What sort of kitchen garden is there？” she asked， combining domestic economy with private interest. There was also talk of having the turf “cropped” before they moved in. In late spring 1811， once settled， Austen wrote to Cassandra in Kent， giving her a portrait of Hampshire life. Alongside newborns， illnesses， controversial marriages and the weather， she sketched the changes she saw in the garden. The flowers were blooming nicely， but Cassandra’s mignonette from Kent had “a wretched appearance” （Jane frequently made comparisons with her sister—partly because she missed her and perhaps partly out of pride in her own green thumb）.19 The plums were on their way， and Cowper’s syringas—obviously planted in Chawton as well as Southampton—were ready to blossom. Austen offers an attractive picture of an English cottage garden in spring. “Our young peony at the foot of the fir-tree has just blown and looks very handsome”， she wrote， “and the whole of the Shrubbery Border will soon be very gay with pinks and sweet williams， in addition to the columbines already in bloom”. Then Austen returns to family journeys， health， the spring storms.
　　Three years later， staying in her brother Henry’s London home， Austen was again struck by the gardens. In 1813， Hans Place was in a rural suburb of London， though hardly provincial—large houses， a good school， and fashionable gardens， all within walking distance of London city （Jane strolled there to do her shopping）. Henry Austen’ s abode20 wasn’t a palace with a large estate， but it was generous （at the time he was a well-to-do banker）. His sister commended the house’s span and coziness， and then said simply： “the Garden is quite a Love”. 　　As with most of Austen’s private life， this is little more than a hint： of some more profound human partiality pleasure. It’s difficult to gauge how much of her glee was caused by her removal from Bath—not so much where she was， as where she wasn’t. Nonetheless， as a reader it’s a relief to see Jane Austen so straightforwardly happy. Despite its vicissitudes21， life has mood： themes and tones that colour the years. And the mood of Jane Austen’s Bath stay， like her time at boarding school as a child， was one of resigned dissatisfaction. But with the gardens of Castle Square， Hans Place and Chawton Cottage came simple enthusiasm—as if Austen were no longer obliged to suppress her sensual and imaginative delight.
　　This is why her Chawton talk of mock orange and laburnum stands out. Amidst her usual frustrations and domestic record keeping， it’s a sanguine note. When we read of Jane moving her sister’s chilled pot plants into the cosy dining room， we can see quiet， domestic enjoyment； the rhythms and gestures that shape everyday life. And we know she was combining these homely， horticultural pursuits with her first love：22 writing. This is an important clue to Austen’s priorities in life. She adored the discipline of writing， but she also saw the garden as vital to her wellbeing. It lifted her spirits， and helped her to write so prolifically. But how？
　　A good place to start is with her novels. A caveat， though： Austen was not her heroines； not the “young lady” Sir Walter Scott saw in them. It’s convenient to conflate writer and character—particularly intelligent， unmarried gentle women of modest means from the provinces. But Austen published six novels in her lifetime， and not one of her heroines can be easily identified with their author. She had Elizabeth’s sharp tongue， but not her boldness in company； Elinor’s sense， but not her paralysing caution； Catherine’s love of literature， but not her Gothicism； Fanny’s piety， but not her priggishness； Emma’s curiosity for matchmaking， but not her conceited privilege；23 Anne’s loneliness， but not her late romance. In short， Jane Austen did not put herself into Pride and Prejudice or Persuasion， as if this self were a simple， off-the-shelf phrase or paragraph.
　　Yet these characters came from somewhere： not life， raw and ready-made， but life as are to be mined， refined， polished. She was not Anne Elliot， with her vain baronet father， or vapid older sister24—but she knew enough of repression， disappointment， pride and boredom to imagine Anne’s life. The same can be said for her other novels： they were Austen’s experiences， skillfully transformed. This is helpful， because it reminds us that the reclusive author， with her many burnt letters， can still be glimpsed in her fiction. Her novels hint at the ideas that informed her writing and life-including her love of Chawton garden. 　　A good example comes from the world’s favourite Austen novel， Pride and Prejudice. Jane finished her earliest draft of First Impressions at twenty-two years of age. What she thought of it at the time is unknown—she was certainly confident， but this tells us little. Over fifteen years later， after it was published in January 1813 by Thomas Egerton， Austen had mixed feelings. Like most Janeites， she liked her heroine， Elizabeth Bennet.“I think her as delightful a creature as ever appeared in print”， Austen told her sister Cassandra in the month of its publication， “