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Jane AustenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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The bathing machine—a contraption that to the 21st-century eye may seem almost ludicrously censorious—symbolizes the Regency era’s deeply ambivalent attitudes toward progress and modernization. Bathing machines were small enclosed changing rooms on wheels. When a person finished changing, the machine was wheeled into the water so the person could wade in directly from the machine. They were designed so that men and women could bathe separately without being exposed to one another. These machines are the first thing Charlotte sees when she reaches the beach at Sanditon, and as such they stand as a visual symbol of the economic and cultural tensions the beach resort creates. The idea of bathing in public was so novel and scandalous in the 19th century that machines had to be invented to allow men and women to bathe without seeing one another. The act of public bathing is itself a marker of modernity, liberalization, and a capitalist economy that for the first time turns places into commodities. Mr. Parker’s insistence that everyone should visit Sanditon and bathe reflects not only a philanthropic interest in public health but also a desire to profit from the town’s marketability. When Charlotte arrives at Sanditon and sees the beach for the first time, she sees “the descent to the beach and to the bathing machines,” noting that “this [is] therefore the favourite spot for beauty and fashion” (79). At the same time, the bathing machines reflect a culture that was still deeply uncertain about the changes liberalization would bring.
As a “favourite spot for beauty and fashion,” the beach with its bathing machines is also a marker of The Social Effects of Economic Inequality. Mr. Heywood voices his dissention about the good that Sanditon will do for the economy and for people’s health. When Mr. Parker first begins talking about the loveliness and healthfulness of the beach resort, Mr. Heywood says skeptically, “Every five years, one hears of some new place or other starting up by the sea, and growing the fashion” (66). In his eyes, these types of resorts are simply passing fashions and bad for the country because they are “sure to raise the price of provisions and make the poor good for nothing” (66). Mr. Heywood understands that the prospect of beach resorts and bathing machines for the wealthy only increases the disparity between the upper and lower classes.
Throughout the narrative, Austen uses nature as a motif to highlight the characters’ fascination with health. This motif is at the center of the book and connects with all its major themes. Mr. Parker mocks his siblings’ hypochondria as evidence of the connection between Leisure and Vanity—with too much time on their hands, the Parker siblings imagine terrible illnesses as a way to give their lives purpose and drama. However, Mr. Parker’s obsession with the health benefits of the sea reveals the same underlying problem: Freed by economic privilege from the day-to-day concerns of survival, he turns his attention to the most modern of ambitions—wellness. Mr. Parker believes the human experience can be perfected—a belief that, as luck would have it, is highly marketable.
At the beginning of the narrative, Mr. Parker talks about the benefits of bathing in the sea and breathing in the sea air. From his perspective, “The sea air and sea bathing together were nearly infallible, one or the other of them being a match for every disorder, of the stomach, the lungs, or the blood; they were anti-spasmodic, anti-pulmonary, anti-septic, anti-bilious, and anti-rheumatic” (70). Nature holds medicinal properties for Mr. Parker in the same way that Diana and Susan’s tinctures and smelling salts have an almost mystical therapeutic power for them. According to Mr. Parker, Sanditon and its saline air give restoration and healing to everyone who lives there—according to Mr. Parker, Clara Brereton’s health and beauty have increased since she arrived: She was lovely before arriving, but “since having the advantages of Sanditon breezes, that loveliness [is] complete” (75). Mr. Parker’s delight in the saline air of Sanditon is inextricable from his financial interest in the town—evidence of The Corrupting Power of Ambition. He presents the sea air as a cure for all of life’s problems, whether sickness, sadness, or poverty, but in reality, he is a businessman whose entrepreneurial imagination is so boundless that he wants to turn the very air into a commodity for sale.
The novel’s descriptions of nature and the sea air connect directly to Sanditon. In an island country like England, a seaside town is hardly unique, but Mr. Parker and Lady Denham’s fascination with nature only applies to the nature found at Sanditon. This is because these characters have connected nature with their financial success and return on their investment. When Mr. Parker describes the health benefits of nature, he goes on to say, “If the sea breeze failed, the sea-bath was the certain corrective;—and where bathing disagreed, the sea breeze alone was evidently designed by nature for the cure” (70). Mr. Parker subtly pitches a seaside stay at a resort to the Heywood family as the cure for illness. Austen uses the humor of this moment to satirize Mr. Parker’s audacity at suggesting nature as a cure for the family who already lives in the countryside. However, according to Mr. Parker, the sea air offers benefits that cannot be found elsewhere. This commodification of nature highlights The Social Effects of Economic Inequality, as the benefits Mr. Parker touts are available only to those with the means to travel for leisure.
The grand, elusive Sanditon House is a motif connected to the theme of The Corrupting Power of Ambition. Lady Denham is the owner of the house only through marriage, and the house is visible proof to the townspeople that ambitious endeavors lead to power and comfort. When Charlotte sees Sanditon House for the first time, she notices that “it [is] the last building of former days in that line of the parish. A little higher up, the modern began” (78). This description reveals that Sanditon House comes from the inheritance of old money, and while the town of Sanditon represents progress and modernity, Austen reminds her audience that this progress is fueled by old wealth. This motif reveals why Lady Denham fears the arrival of the family from Antigua: They represent the possibility of new money coming to Sanditon and rivalling her power. Since Sanditon House sits on top of the hill that overlooks Sanditon, it is a reminder of the way that power and wealth in this system stem from social hierarchy. The grand house on a hill overlooking the townspeople is reminiscent of a castle that overlooks the villagers below. Lady Denham acts like the queen of Sanditon because she funds the town’s small economy, and she controls how the town does business. Although it is Mr. Parker’s dream to turn Sanditon into a beach resort, his decisions are tied to Lady Denham’s whims, and he must appease her to ensure that his business venture comes to fruition. Although the novel ends abruptly as Charlotte is visiting Sanditon House, the house gives her a sense of the wealth and power that come from Lady Denham. When Charlotte and Mr. Parker arrive, Charlotte observes,
The house was large and handsome; two servants appeared, to admit them, and everything had a suitable air of property and order—Lady Denham valued herself upon her liberal establishment, and had great enjoyment in the order and the importance of her style of living (112).
In the case of Sanditon House, the importance of order and the type of living has to do with giving the appearance of decorum. The presence of servants who escort Charlotte and Mrs. Parker reveals that wealth and power come at the price of other humans’ subjugation. All these elements give Lady Denham power and opportunity because she had the ambition to pursue wealth and power in order to create a level of distance between herself and the lower classes.
By Jane Austen