tag:blogger.com,1999:blog-14364172880603706382024-03-05T16:58:58.138-05:00...... SHARP ELVES SOCIETY ...... Jane Austen's Shadow StoriesArnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.comBlogger1826125tag:blogger.com,1999:blog-1436417288060370638.post-92032219233017576982021-10-22T18:13:00.002-04:002021-10-26T14:08:14.299-04:00Another Missing Party-cipant in one of Jane Austen’s NovelsI’ve received no answer to my tricky quiz, so now I will give the final (decisive) hints necessary to figure it out.
HINT #1: The Austen novel (other than Emma, with Mr. K, like a svelte Santa Claus, missing from most of the Randalls Christmas dinner party) with the missing party-cipant in a small social gathering is PERSUASION.
HINT #2: The following passage in Persuasion will greatly assist you in ascertaining which character that might be. You then need to figure out which gathering that character is a surprising no-show at, even though the clueless Anne Elliot never notices that absence, and therefore neither does the narrator!:
Ch. 16: “She longed to see the Crofts; but when the meeting took place, it was evident that no rumour of the news had yet reached them. The visit of ceremony was paid and returned; and Louisa Musgrove was mentioned, and Captain Benwick, too, without even half a smile.
The Crofts had placed themselves in lodgings in Gay Street, perfectly to Sir Walter's satisfaction. He was not at all ashamed of the acquaintance, and did, in fact, think and talk a great deal more about the Admiral, than the Admiral ever thought or talked about him.
The Crofts knew quite as many people in Bath as they wished for, and considered their intercourse with the Elliots as a mere matter of form, and not in the least likely to afford them any pleasure. They brought with them their country habit of being almost always together. He was ordered to walk to keep off the gout, and Mrs Croft seemed to go shares with him in everything, and to walk for her life to do him good. Anne saw them wherever she went. Lady Russell took her out in her carriage almost every morning, and she never failed to think of them, and never failed to see them. Knowing their feelings as she did, it was a most attractive picture of happiness to her. She always watched them as long as she could, delighted to fancy she understood what they might be talking of, as they walked along in happy independence, or equally delighted to see the Admiral's hearty shake of the hand when he encountered an old friend, and observe their eagerness of conversation when occasionally forming into a little knot of the navy, Mrs Croft looking as intelligent and keen as any of the officers around her.”
HINT #3: The following passage (that begins the scene in the first cancelled chapter of Persuasion that Jane Austen completely deleted in her final published version) is a further (oblique) clue as to the identity of the missing party-cipant, and also perhaps a clue as to why that character might have no-showed. Recall that at this moment in the story, Anne has just left Mrs. Smith’s apartment after hearing all about Cousin Elliot:
“With all this knowledge of Mr E--& this authority to impart it, Anne left Westgate Buildgs--her mind deeply busy in revolving what she had heard, feeling, thinking, recalling & forseeing everything; shocked at Mr Elliot--sighing over future Kellynch, and pained for Lady Russell, whose confidence in him had been entire.--The Embarrassment which much be felt from this hour in his presence!--How to behave to him?--how to get rid of him?--what to do by any of the Party at home?--where to be blind? where to be active?—It was altogether a confusion of Images & Doubts--a perplexity, an agitation which she could not see the end of—
-and she was in Gay St & still so much engrossed, that she started on being addressed by Adml Croft, as if he were a person unlikely to be met there. It was within a few steps of his own door.--"You are going to call upon my wife, said he, she will be very glad to see you."--Anne denied it "No--she really had not time, she was in her way home"--but while she spoke, the Adml had stepped back & knocked at the door, calling out, "Yes, yes do go in; she is all alone. go in & rest yourself."--Anne felt so little disposed at this time to be in company of any sort, that it vexed her to be thus constrained--but she was obliged to stop. "Since you are so very kind, said she, I will just ask Mrs Croft how she does, but I really cannot stay 5 minutes.--You are sure she is quite alone."—
-The possibility of Capt. W. had occurred--and most fearfully anxious was she to be assured--either that he was within or that he was not; which, might have been a question.--"Oh! yes, quite alone--Nobody but her Mantuamaker with her, & they have been shut up together this half hour, so it must be over soon."--"Her Mantua maker!--then I am sure my calling now, wd be most inconvenient.--Indeed you must allow me to leave my Card & be so good as to explain it afterwards to Mrs C." "No, no, not at all, not at all. She will be very happy to see you. Mind--I will not swear that she has not something particular to say to you--but that will all come out in the right place. I give no hints.--Why, Miss Elliot, we begin to hear strange things of you--(smiling in her face)--But you have not much the Look of it--as Grave as a little Judge." --Anne blushed.--"Aye, aye, that will do. Now, it is right. I thought we were not mistaken." She was left to guess at the direction of his Suspicions….”
At our Zoom on Thursday, I will be giving my interpretation of how the mysterious no-show fits within the broader context of the shadow story of Persuasion – at this point, please do not respond in this group before then, but feel free to email me privately if you wish to discuss any of this before Thursday.
ARNIE
<b>
MY PRIOR POSTS</b>
In Persuasions #18 (1996)… https://jasna.org/persuasions/printed/number18/austen-leigh.pdf
…Joan Austen-Leigh famously speculated that Jane Austen had nodded, i.e., that she had forgotten about Mr. Knightley while writing the Randalls dinner party in the (very light) snow, until late in the party, when he suddenly is just there. As Austen-Leigh argues:
“Mr. Knightley is silent. He says not a single word until there is an alarm about snow and we are told he "left the room immediately" (but we have not been told that he was ever in it!). When he returns it is to "answer for there not being the smallest difficulty in their getting home, whenever they liked it". Also "he had seen the coachmen and they both agreed with him".
Both! Only two coachmen, so he did not bring his own carriage. Poor fellow, I hope he did not get his feet wet. But it is no matter. It is as we expect, while the others are flapping and fussing to no purpose, Mr. Knightley takes charge. He and Emma settle it all between them, which is entirely satisfactory and exactly what we have counted upon their doing. For this purpose and no other was he present at Randalls.”
I don’t agree with her, I believe instead that Jane Austen knew exactly what she was doing, and that she meant her most attentive readers to not only notice his absence during most of the party, but also to then wonder what Mr. Knightley might have been doing, and where he was doing it, while he was discreetly absent from Emma’s observant eye for that crucial few hours.
Well… just yesterday, in one of Austen’s other novels besides Emma, I happened upon what appears to me to be another unexplained absence of a character who we would have expected to be present at a party – but in that other case, the missing character never shows up at all, and the heroine never notices that absence!
So, unless I have overlooked an explanation, whether oblique or explicit, for that absence, I believe this is another instance in which Jane Austen wanted her best readers to notice that missing “party-cipant”, and to wonder where that character might have been during the party.
And now I wouldn’t be surprised if there weren’t one or two more of these hidden puzzles scattered among Austen’s novels, which have not (yet) been noted.
One hint, to make your solving this puzzle less onerous. The instance I have in mind is found in one of the following three novels:
Northanger Abbey, Mansfield Park, or Persuasion.
Please respond to me privately at arnieperlstein@gmail.com with any answer you come up with, and I will announce my answer (and any other answer that I receive that fits my parameters) on Monday evening 7 pm PST, October 25.
Happy hunting, ARNIE
MY FOLLOWUP QUIZ POST
Here is one necessary clarification, and two more hints:
I realized a few minutes ago that I was unintentionally very misleading, when I referred to the gathering that a certain character was absent from as a "party". The gathering actually had no dancing, or food served as far as I can tell, it was a small informal group, and most of the activity was just conversation among them. My apologies! My only excuse is that when I started out my quiz talking about Knightley being absent from the Randalls Christmas dinner party, I had parties on the brain, when I drew the parallel between the two scenes!
Anyway, as penance, I will now give you a few more significant clues.
First: the absent character is one whom orthodox Janeites would never in a million years think of as being Machiavellian offstage; and yet, there is some Austen scholarship that has been out there for nearly 30 years, and documentary evidence dating back to Jane Austen's lifetime, that fits really, really well with the idea of that missing character being manipulative.
Second: I said before, that this scene occurs in one of the following three novels: NA, Mansfield Park, or Persuasion. Well, now I will narrow it down still further, to save you time - it's not in NA, it is in either MP or Persuasion.
Okay, so now I think you have enough (non-misleading) clues, so as to have a fair chance of figuring out which scene I am referring to. And if you get that far, I believe that if you make a list of the characters who are clearly present and speaking, then you will be able to immediately recognize who you might have expected to be there, too, but who is AWOL, so to speak.
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-53774943576519704182021-09-07T03:10:00.007-04:002021-09-11T16:11:22.065-04:00“…matter and impertinency mix'd!”: I am the Walrus as Lennon’s Shakespearean “reason in madness!”<div class="separator" style="clear: both; text-align: justify;">[Be sure to read this post to the very end, I've added a couple of significant points since I first posted this]</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I’ve long suspected Lennon & McCartney of being sneakily serious readers of English literature, and that John Lennon in particular loved pretending that his most cryptic lyrics were mere jokes. Even as he tweaked the beards of those who looked for his hidden meanings, he actually took great delight in being very slyly erudite, and I think he wanted to make the search for hidden meaning more fun and more challenging, by denying that it was there.</div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">For example, Lennon claimed with a straight face, that Lucy in the Sky with Diamonds, with its iconic psychedelic imagery, was not at all about LSD. Yeah, right. How he must have laughed on the inside, when most of the wider world, including many hardcore Beatles fans who shoulda known better, swallowed that obvious whopper.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Anyway, as a result of my suspicions, I’m always on the alert for insight into literary allusions in the Beatles canon, and over the past decade, I’ve been rewarded with insights into 3 Beatles songs that I see as having a surprising, hidden, English literary pedigree, as I’ve blogged at the linked posts:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">https://sharpelvessociety.blogspot.com/2017/01/shakespeares-king-henry-vi-was.html</div><div class="separator" style="clear: both; text-align: justify;">“Shakespeare’s holy hilltop fool Henry VI was McCartney’s Fool on the Hill!”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">https://sharpelvessociety.blogspot.com/2014/02/the-view-from-fords-beatles-magical.html</div><div class="separator" style="clear: both; text-align: justify;">“The View from Ford’s: The Beatles’ Magical Mystery Tour of PeRRy Lane & Strawberry Fields for Emma”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">http://sharpelvessociety.blogspot.com/2012/12/living-is-easy-with-eyes-closed.html</div><div class="separator" style="clear: both; text-align: justify;">“ ‘Living is easy with eyes closed, misunderstanding all you see’---The Song of Emma Woodhouse”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Those 3 songs, The Fool on the Hill (Sept. 1967), Penny Lane (Jan. 1967), and Strawberry Fields Forever (Dec. 1966), were all recorded within 9 months of each other, and all 3 appear on the same Beatles album – Magical Mystery Tour. Not a coincidence, in my view. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And yet, you may ask, what about the other Beatles song on Magical Mystery Tour that has raised more speculation about its cryptic lyrics and hidden meanings than any of the others? Of course, I refer to the one in my Subject Line, I Am The Walrus (Sept. 1967). </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Well, funny you should ask, because literary lightning struck again the other day for me. While listening to the Beatles Channel on Sirius Radio, my attention was caught by the commentary about Walrus of Kevin Howlett on one of his “Magical History Tour” segments.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Specifically, Howlett repeated what I had heard a few times before, but had never paused to consider more curiously – that the spoken word dialog that pops out through the writhing rhythms of Lennon’s grotesque imagery late in that song, is actually taken from a live performance of a very specific source – two speeches in Act 4, Scene 6 of King Lear.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Howlett essentially repeated the following conventional understanding of how Shakespeare happened to wander into Lennon’s nightmarish tableau: https://www.theatlantic.com/entertainment/archive/2017/11/i-am-the-walrus-50-years-later/546698/</div><div class="separator" style="clear: both; text-align: justify;">“To further tantalize literary types, at the end of the song listeners hear a scene from King Lear in the background, with Oswald’s final words, “O, untimely death!” standing out. (That line ended up as grist for the “Paul is dead” conspiracy mill, of course.) </div><div class="separator" style="clear: both; text-align: justify;">As it turns out, the performance of Lear just happened to be on a radio that was tuned to the BBC while they were mixing the song. The studio engineer Geoff Emerick said it was Lennon’s idea to get some “random radio noise” from “twiddling the dial,” an injection of John Cage–style found audio. Talking about the song with the New York radio DJ Dennis Elsas, Lennon claimed he “never knew it was King Lear until years later” when someone told him…”</div><div class="separator" style="clear: both; text-align: justify;">END QUOTE</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">However, with all my prior suspicions of Lennon’s literary slyness about L.S.D, and those 3 other Beatles songs that I claim draw upon Shakespeare and Austen, I read Lennon’s disclaimer the same way I read the following famous comments by that very same Jane Austen, whom was capable of infinite sly misdirection and faux modesty (and who inspired the name of my blog 12 years ago), as epitomized in this famous bon mot about Pride and Prejudice:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“There are a few Typical errors–& a ‘said he’ or a ‘said she’ would sometimes make the Dialogue more immediately clear–but ‘I do not write for such dull Elves as have not a great deal of Ingenuity themselves.'”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">If you actually believe that Austen sincerely thought that her pronomial ambiguities in Pride & Prejudice were “typical errors”, rather than intentional acts of genius on her part, well, this post is not for you – but for the rest of you, please read on!</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Back to I am the Walrus --I knew instinctively that Lennon was thinking of the sharp elves in his audience, and was up to something ambitiously literary with that Lear insertion, but what? Well, it took me less than an hour to gather the following passages from the text of King Lear, in addition to the brief snippets of dialogue in 4.6 that we actually hear on Walrus. To figure out his meaning, I had to first assemble all the relevant textual evidence.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And one quick and necessary caveat- of course I am already aware that numerous explanations have been presented over the past 54 years as to sources for many of Lennon’s word choices in his lyrics for Walrus, including, most notably, The Walrus and the Carpenter. But this in no proves or even suggests that Lennon could not have also had Shakespeare on the brain as he wrote the song.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">So, please meet me on the other side of these quotations, and I will then progress to my speculations as to what this King Lear subtext meant to John Lennon. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“I am the Egg-Man”: King Lear 1.4, 4.6</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">FOOL …………….Give me an EGG, nuncle, and I'll give thee two crowns.</div><div class="separator" style="clear: both; text-align: justify;">KING LEAR What two crowns shall they be?</div><div class="separator" style="clear: both; text-align: justify;">FOOL Why, after I have cut the EGG i' the middle, and eat up the meat, the two crowns of the EGG. When thou clovest thy crown i' the middle, and gavest away both parts, thou borest thy ass on thy back o'er the dirt: thou hadst little wit in thy bald crown, when thou gavest thy golden one away. If I speak</div><div class="separator" style="clear: both; text-align: justify;">like myself in this, let him be whipped that first finds it so.</div><div class="separator" style="clear: both; text-align: justify;"><a name="speech19" style="text-align: start;"><b><br /></b></a></div><div class="separator" style="clear: both; text-align: justify;"><a name="speech19" style="text-align: start;">GLOUCESTER<span style="background-color: white; font-weight: bold;"> </span></a><a name="4.6.58">Away, and let me die.</a><b><br /></b><a name="speech20" style="text-align: start;">EDGAR</a></div><div class="separator" style="clear: both; text-align: justify;"><a name="4.6.59" style="text-align: start;">Hadst thou been aught but gossamer, feathers, air,</a></div><div class="separator" style="clear: both; text-align: justify;"><a name="4.6.60" style="text-align: start;">So many fathom down precipitating,</a></div><div class="separator" style="clear: both; text-align: justify;"><a name="4.6.61" style="text-align: start;">Thou'dst shiver'd like an EGG: but thou dost breathe;</a></div><div class="separator" style="clear: both; text-align: justify;"><a name="4.6.62" style="text-align: start;">Hast heavy substance; bleed'st not; speak'st; art sound.</a></div><div class="separator" style="clear: both; text-align: justify;"><a name="4.6.63" style="text-align: start;">Ten masts at each make not the altitude</a></div><div class="separator" style="clear: both; text-align: justify;"><a name="4.6.64" style="text-align: start;">Which thou hast perpendicularly fell:</a></div><div class="separator" style="clear: both; text-align: justify;"><div style="text-align: start;">T<a name="4.6.65">hy life's a miracle. Speak yet again.</a></div></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“Cuckoo-ka-choo” King Lear 1.4</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">FOOL</div><div class="separator" style="clear: both; text-align: justify;">For, you trow, nuncle,</div><div class="separator" style="clear: both; text-align: justify;">The hedge-sparrow fed the CUCKOO so long,</div><div class="separator" style="clear: both; text-align: justify;">That it's had it head bit off by it young.</div><div class="separator" style="clear: both; text-align: justify;">So, out went the candle, and we were left darkling.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">So we have two speeches in the same scene, in which the Fool speaks words which Lennon seemed to echo in Walrus – might we also say, then, that Lennon was channeling Lear’s witty Fool, with his penchant for acidic riddling directed at King Lear, in this line?:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“Don't you think the JOKER LAUGHS AT YOU (ho ho ho, hee hee hee, hah hah hah)”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“See how they SMILE like PIGS in a sty, see how they snide”</div><div class="separator" style="clear: both; text-align: justify;">“Dripping from a DEAD DOG's eye”: King Lear 2.2</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">When Kent lights into Oswald, the toadying courtier of Goneril and Ragan, he is thinking of pigs in a sty who snidely smile:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">KENT</div><div class="separator" style="clear: both; text-align: justify;">That such a slave as this should wear a sword,</div><div class="separator" style="clear: both; text-align: justify;">Who wears no honesty. Such SMILING rogues as these,</div><div class="separator" style="clear: both; text-align: justify;">Like rats, oft bite the holy cords a-twain</div><div class="separator" style="clear: both; text-align: justify;">Which are too intrinse t' unloose; smooth every passion</div><div class="separator" style="clear: both; text-align: justify;">That in the natures of their lords rebel;</div><div class="separator" style="clear: both; text-align: justify;">Bring oil to fire, snow to their colder moods;</div><div class="separator" style="clear: both; text-align: justify;">Renege, affirm, and turn their halcyon beaks</div><div class="separator" style="clear: both; text-align: justify;">With every gale and vary of their masters,</div><div class="separator" style="clear: both; text-align: justify;">Knowing nought, like DOGS, but following.</div><div class="separator" style="clear: both; text-align: justify;">A plague upon your epileptic visage!</div><div class="separator" style="clear: both; text-align: justify;">SMILE you my speeches, as I were a fool?</div><div class="separator" style="clear: both; text-align: justify;">Goose, if I had you upon Sarum plain,</div><div class="separator" style="clear: both; text-align: justify;">I'ld drive ye cackling home to Camelot.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“Man you've been a NAUGHTY boy”</div><div class="separator" style="clear: both; text-align: justify;">“Boy, you've been a NAUGHTY girl, you let your knickers down”: King Lear 3.7</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And when Regan torments Gloucester before savagely blinding him, and then takes up with Edmund, does she not fit Lennon’s description of a naughty girl?</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">REGAN plucks his beard</div><div class="separator" style="clear: both; text-align: justify;">GLOUCESTER</div><div class="separator" style="clear: both; text-align: justify;">By the kind gods, 'tis most ignobly done</div><div class="separator" style="clear: both; text-align: justify;">To pluck me by the beard.</div><div class="separator" style="clear: both; text-align: justify;">REGAN So white, and such a traitor!</div><div class="separator" style="clear: both; text-align: justify;">GLOUCESTER</div><div class="separator" style="clear: both; text-align: justify;">NAUGHTY lady,</div><div class="separator" style="clear: both; text-align: justify;">These hairs, which thou dost ravish from my chin,</div><div class="separator" style="clear: both; text-align: justify;">Will quicken, and accuse thee…</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“I'm CRYING, I'm CRYING</div><div class="separator" style="clear: both; text-align: justify;">I'm CRYING, I'm CRYING”: King Lear 4.6. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And so Lennon’s repeated weeping wails remind us of Lear’s, in that very same Act 4, Scene 6 from which Lennon “accidentally” chose to record from the BBC, and then insert in his song:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">EDGAR O, matter and impertinency mix'd! Reason in madness!</div><div class="separator" style="clear: both; text-align: justify;">KING LEAR</div><div class="separator" style="clear: both; text-align: justify;">If thou wilt weep my fortunes, take my eyes.</div><div class="separator" style="clear: both; text-align: justify;">I know thee well enough; thy name is Gloucester:</div><div class="separator" style="clear: both; text-align: justify;">Thou must be patient; we came CRYING hither:</div><div class="separator" style="clear: both; text-align: justify;">Thou know'st, the first time that we smell the air,</div><div class="separator" style="clear: both; text-align: justify;">We wawl and CRY. I will preach to thee: mark.</div><div class="separator" style="clear: both; text-align: justify;">GLOUCESTER Alack, alack the day!</div><div class="separator" style="clear: both; text-align: justify;">KING LEAR</div><div class="separator" style="clear: both; text-align: justify;">When we are born, we CRY that we are come</div><div class="separator" style="clear: both; text-align: justify;">To this great stage of fools…</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“Sitting on a corn FLAKE”</div><div class="separator" style="clear: both; text-align: justify;">“Dripping from a DEAD DOG's eye”</div><div class="separator" style="clear: both; text-align: justify;">“See how they SMILE like PIGS in a sty, see how they snide”: King Lear 4.7</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">CORDELIA</div><div class="separator" style="clear: both; text-align: justify;">Had you not been their father, these white FLAKES</div><div class="separator" style="clear: both; text-align: justify;">Had challenged pity of them. Was this a face</div><div class="separator" style="clear: both; text-align: justify;">To be opposed against the warring winds?</div><div class="separator" style="clear: both; text-align: justify;">To stand against the deep dread-bolted thunder?</div><div class="separator" style="clear: both; text-align: justify;">In the most terrible and nimble stroke</div><div class="separator" style="clear: both; text-align: justify;">Of quick, cross lightning? to watch--poor perdu!--</div><div class="separator" style="clear: both; text-align: justify;">With this thin helm? Mine enemy's DOG,</div><div class="separator" style="clear: both; text-align: justify;">Though he had bit me, should have stood that night</div><div class="separator" style="clear: both; text-align: justify;">Against my fire; and wast thou fain, poor father,</div><div class="separator" style="clear: both; text-align: justify;">To hovel thee with SWINE, and rogues forlorn,</div><div class="separator" style="clear: both; text-align: justify;">In short and musty straw? Alack, alack!</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Cordelia has returned, and Lennon “tags” that return with the “cornflake” he sits upon, like little miss muffet. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And that brings us to what I see as the emotional center of Lennon’s veiled allusion to King Lear:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“Dripping from a DEAD DOG's eye”: King Lear 5.3</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">KING LEAR</div><div class="separator" style="clear: both; text-align: justify;">And my poor fool is hang'd! No, no, no life!</div><div class="separator" style="clear: both; text-align: justify;">Why should a DOG, a horse, a rat, have life,</div><div class="separator" style="clear: both; text-align: justify;">And thou no breath at all? Thou'lt come no more,</div><div class="separator" style="clear: both; text-align: justify;">Never, never, never, never, never!</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">In other words, Lear bemoans that there is no “dead dog”, but there is a “dead Cordelia”!</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">After collecting those passages from King Lear with this very distinctive imagery that seems to be obliquely echoed in Walrus, I stepped back a pace and considered these parallels in a more global way. It’s safe to say that Shakespeare was never more sour, pessimistic, cynical, and sexually grotesque than in King Lear, and the same can also be said about John Lennon and Walrus – don’t you think the latter would work really well as a soundtrack for a modernized film version of Lear?</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">What also leapt off the page at me about that final quotation, when Lear wails in extreme grief at the death of his beloved Cordelia, we cannot help but be reminded of what has been pointed out by some clever Beatles elves who haven’t connected it to King Lear – that Brian Epstein, the “glue” that had held the Beatles together since their rise to fame, had suddenly and shockingly died, right before Lennon wrote Walrus.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">But also, we can look at the first lines of Walrus as obliquely pointing to King Lear himself:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">“I am he as you are he as you are me</div><div class="separator" style="clear: both; text-align: justify;">And we are all together”</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">In his very first speech in the play, Lear repeatedly speaks in the royal “we”. And yet, by the final scene of the play, Lear speaks repeatedly and only in the personal “I” – not a royal “we” in sight. So we may well say that Lennon has, in brilliantly absurdist poetry, captured that metamorphosis from king to father. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And so, that was where I stood after applying my usual methods to parsing texts for allusions. But I just could not believe that I was the first to reach this sort of insight into Walrus – and here’s the spooky part – after further diligent search, I still could not find any written commentary on this topic that got this far – it seemed that Lennon’s claims of “accidental” inclusion of Lear had not been challenged for nearly 54 years.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">However, what I did find was a recording of the My Favourite Beatles Song podcast that aired only a week ago, on August 31, 2021:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">https://myfavouritebeatlessong.buzzsprout.com/1820033/9108381-i-am-the-walrus-scott-rowley?t=0</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">In it, host Tim Tucker interviewed musician and music analyst Scott Rowley, and their topic was I am the Walrus. As their fascinating discussion progressed, I held my breath, as they described it as both playful and nightmarish, like a Hieronymus Bosch painting, with a dark vision, as if Lennon sought the sharpest possible contrast to the psychedelic sermon on the mount that is All You Need is Love.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Things then got really exciting when Rowley noted that “I’m crying” seemed to be an expression of grief for Brian Epstein, a really bad trip that Lennon had been hurled into in his grief. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And then, beginning at 24:00 running time, and then continuing for about 4 minutes, Rowley took that same giant imaginative leap that I had, and realized that Act 4, Scene 6 was exactly where Lennon wanted his sharpest elf listeners to go in their imaginations!</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">So all kudos to Rowley (and to Tucker for providing the perfect catalytic environment for Rowley to make his leap) for connecting those dots several days before I did – but I do believe that the echoes of imagery and verbiage that I retrieved and outlined, above, seal the deal – it all can’t be one humongous coincidence, or even unconscious echoing by Lennon – no, this was all entirely intentional on his part, a tribute to his own (apparent) secret love of Shakespeare, and of grief for the loss of Brian Epstein.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And there’s one final textual goodie, that Rowley caught, but I had missed, in that crucial Act 4, Scene 6, when Edgar is confronted by Oswald, right before Edgar courageously takes out that “serviceable villain”:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">EDGAR Good gentleman, go your gait, and let poor volk pass. An chud ha' bin zwaggered out of my life, 'twould not ha' bin zo long as 'tis by a vortnight. Nay, come not near th' old man; keep out, che vor</div><div class="separator" style="clear: both; text-align: justify;">ye, or ise try whether your COSTARD or my ballow be the harder: ch'ill be plain with you.</div><div class="separator" style="clear: both; text-align: justify;">OSWALD Out, dunghill!</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Of course that is indeed the “Yellow matter CUSTARD” that drips from the “dead dog’s eye”, immediately after Lennon’s four Learian repetitions of “I’m crying”! </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">I close by observing that this was a prophetic moment for Lennon, in which he played the Fool (in the highest sense of the word) as he foretold that the kingdom that was the Beatles was about to fracture apart into several pieces, just like Lear’s kingdom, now that the human “glue” that had held it together, Brian Epstein, had died. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">And also, perhaps, Lennon was, paradoxically, also celebrating his own liberation as an artist.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Cheers, ARNIE</div><div class="separator" style="clear: both; text-align: justify;">@JaneAustenCode on Twitter</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">ADDED 09/07/21 AT 11 AM PST</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">John Lennon in a 1970 Interview:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;"><span face="-apple-system, system-ui, "Segoe UI", Roboto, "Helvetica Neue", Arial, sans-serif, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol"" style="background-color: white; color: #333333; font-size: 16px; text-align: left;">„When I was about twelve, I used to think I must be a genius, but nobody's noticed. Either I'm a genius or I'm mad, which is it? "No," I said, "I can't be mad because nobody's put me away; therefore I'm a genius."“</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">ADDED 09/11/21 AT 1 PM PST</div><div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">This extraordinary article by Richard Gerber is the missing link in the chain of Lennon’s literary subtexts in I am the Walrus – Lennon read Joyce reading Lear & Carroll, in turn reading Shakespeare’s King Lear: </div><div class="separator" style="clear: both; text-align: justify;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;"><b>https://fisherpub.sjfc.edu/cgi/viewcontent.cgi?article=1001&context=nepca</b></div></div><div class="separator" style="clear: both; text-align: justify;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;"><b>&</b></div><div class="separator" style="clear: both; text-align: justify;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;">Last but not least, perhaps John Lennon somehow heard about the following sometime between 1961 and 1967, perhaps by reading this:</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><b><br /></b></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;"><b>1</b>1/17/1961 Life Magazine 51/20 p198</div><div class="separator" style="clear: both; text-align: justify;">“A Deep Freeze Lear in Eskimo Land”</div><div class="separator" style="clear: both; text-align: justify;">The old king strode into his court dressed in Eskimo furs. <b>He wore a weird crown of WALRUS tusks. </b>He held a harpoonlike spear. <b>A strange get-up for Shakespeare's frosty hero, King Lear</b>, but he was appearing in a new production of the bleak tragedy, set and costumed in Eskimo style. </div><div class="separator" style="clear: both; text-align: justify;">....<span style="text-align: center;"><b>This deep freeze King Lear was put on by Toronto’s talented Canadian Players and is now on a tour of 22 American cities.</b></span></div></div><br /><br /></div></div>Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-45077580526511184012021-05-20T00:06:00.006-04:002021-05-20T00:11:48.191-04:00The Pious Hypocrite of Hunton….or Hunsford?: Austen's Anti-Slavery Parody in Pride & Prejudice<div><div><div>My eye was caught today by a retweet by a sharp Twitter elf of the following article: </div><div>“The ‘Slave Bible’ is Not What You Think” by Jill Hicks-Keeton June 3, 2020</div><div>https://therevealer.org/the-slave-bible-is-not-what-you-think/</div><div><br /></div><div>Hicks-Keeton presents a sharp critique of the hypocrisy of The Museum of the Bible, skewering it for its deceitful attempts to whitewash the Bible’s pivotal role in the historical development of colonial slavery, for which scripture provided “moral justification” for enslaving other human beings.</div><div><br /></div><div>I’ve long been aware of the subversive subtext of slavery in Austen’s novels – not just in <i>Mansfield Park,</i> but <b>also significantly in <i>Emma </i>and <i>Pride and Prejudice</i>, too </b>-- and that’s why the title of that article caught my eye – what exactly was the “Slave Bible”, and did it have any Austen connection?</div><div>I was not disappointed when I read the following excerpts:</div><div><br /></div><div>“On one exhibit wall [at the Museum of the Bible] appeared an 1808 quotation attributed to Rev. Beilby Porteus, identified as Bishop of London and Founder of the Society for the Conversion & Religious Instruction and Education of the Negro Slaves. It read: “Prepare a short form of public prayers for them . . . together with select portions of Scripture . . . particularly those which relate to the duties of slaves towards their masters”….The quotation is excerpted from a letter to “the Governors, Legislatures, and Proprietors of Plantations, in The British West-India Islands.” </div><div>Rev. Porteus’s aim is to convince these readers to allow enslaved Africans time and resources to receive Christian religious instruction. Porteus envisions a labor-free Sunday so that the enslaved can gather and be formed into Christian slaves.</div><div>He speculates that local clergy would be willing to prepare “a short form of public prayers for them [the enslaved], consisting of a number of the best Collects of the Liturgy, the Creed, the Lord’s Prayer, and the Ten Commandments, together with <b>Select portions of Scripture</b>, taken principally from the Psalms and Proverbs, the Gospels, and the plainest and most practical parts of the Epistles, particularly those which relate to <b>the duties of slaves towards their masters.</b>”</div><div>The museum has taken Porteus’s quotation out of its context and edited it to make it say something it does not say. When we read the unabridged statement, we find that he was not issuing a command, and specifically that he was not issuing a command to produce a Bible. Porteus envisioned a collection that expanded beyond biblical texts and included liturgy for public worship. Such an anthology would have been similar to other compilations of biblical and religious texts intended for liturgical or devotional use, examples of which can be found displayed with appreciative tone at the museum.</div><div>…The full context of Porteus’s statement gives us a clue as to what his criteria for inclusion of material would have been. Museum curators have excised a significant segment of Porteus’s statement that makes the phrase “particularly those which relate to the duties of slaves towards their masters” appear to refer to all of scripture, when it actually refers to “the plainest and most practical parts of the Epistles”—a phrase which shows that Porteus was motivated principally by a desire to offer enslaved readers texts deemed easily digestible and relevant to their experiences. He was not playing seek and hide with freedom-themed Bible verses.</div><div>[….]</div><div><b>Plenty of people with “whole” Bibles have read their Bibles and concluded that they supported slavery.</b> Even though the missionaries who produced Select Parts of the Holy Bible were not manipulating a Bible with malintent, they were engaged in other activities that we are likely to find abhorrent today. <b>Lest Reverend Porteus be exculpated, we must note that racism and paternalism fueled his commendation of Christian education for the enslaved. </b></div><div>In his letter, <b>Porteus portrays converted slaves as feathers in the caps of their owners, calling them a “pleasing and interesting spectacle, of a new and most numerous race of Christians</b> ‘plucked as a brand out of the fire,’ rescued from the horrors and superstitions of Paganism.” <b>Yet if conversion was intended to rescue enslaved Africans from horrors, it was not horrors in the here-and-now. </b></div><div><b>Porteus reasons that Christian slaves work harder and are more compliant than those who do not convert. He argues that plantation owners should allow their slaves to receive Christian religious education so that their sexual activity can be controlled with the hope of producing more offspring. More enslaved babies, more slaves, more labor, more profit…”</b></div><div><b>END QUOTE FROM HICKS-KEETON ARTICLE</b></div><div><br /></div><div>When I read the above, two words immediately popped into my head: <b>MR. COLLINS!</b></div><div><br /></div><div>Now, two hours later, rather than making an elaborate argument as to why I’m certain that Bishop Porteus (<b>the abolitionist who gave helpful advice to slaveowners</b>) was a primary real-life inspiration for Mr. Collins, Jane Austen’s incomparable portrait of clerical hypocrisy, I will simply quote for you the relevant passages from each of their writings, and it will be obvious to all.</div><div><br /></div><div>First, here are <b>all the relevant passages</b> from Porteus’s 1809 “masterpiece” that Hicks-Keeton brought to our attention, as he explains how he would implement his plan to convert all the slaves in the British West Indies to Christianity -- all, basically, for their own good, and also, incidentally, that of their masters as well. <b>Note in particular how he lists his reasons, one by excruciating one, just like Mr. Collins:</b></div><div><br /></div><div>“Assuming, then, that you are resolved upon the measure, the next consideration is, how are sufficient funds to be provided for carrying it into effect? Now I apprehend that in this there will be very little difficulty, as one great excellence of Dr. Bell's plan is, that it is attended with but a very trifling expence. To defray this expence, I would propose:</div><div>1: That a general subscription should be set on foot in this country, which I am persuaded would be an extensive and a liberal one. In my own diocese, and particularly in the opulent cities of London and Westminster, I would exert my utmost influence to promote it, and would myself begin it with the sum of £.500; and if the occasion called for it, would at any time be ready to double that sum. </div><div>2: <b>I can entertain no doubt but that </b>the British legislature, which has already manifested so laudable a concern for the temporal happiness of the Negroes, will not be indifferent to their spiritual welfare, nor refuse their assistance in promoting it, by encouraging the establishment of these parochial schools.</div><div>3: The Society for the Conversion and religious Instruction and Education of the Negro Slaves in the British West-India Islands (of which I have the honour to be President) have I think the power, and would not, I am confident, want the inclination to contribute some share of their moderate revenue towards forwarding the plan proposed; as one part of their institution is the education of the young Negroes, and they are allowed by their charter to send out schoolmasters to the islands, as well as missionaries. </div><div>4: <b>Lastly.</b> If these funds should not prove sufficient, a very small parochial rate might be raised on the Proprietors of lands in every island, to which (as they are to reap all the benefits of the institution, in the increase of their native Negroes, and <b>will consequently save all the enormous sums formerly expended in the importation of fresh Slaves from Africa)</b> they cannot, I think, reasonably object.</div><div>These are the sources which will, I doubt not, furnish an abundant supply for the support of the establishment here proposed; and the Planters will in a few years, at a very trivial expence to the Proprietor, r<b>aise up a race of young Christian Negroes, who will amply repay their kindness by the increase of their population, by their fidelity, their industry, their honesty, their sobriety, their humility, submission, and obedience to their masters; all which virtues are most strictly enjoined, under pain of eternal punishment, by that divine religion in which they will have been educated, and render them far superior to their unconverted fellow-labourers. </b></div><div>This is not merely assertion and speculation. It is proved by fact and by experience; by the conduct of the Slaves who have been converted from Paganism and instructed in the Christian religion by the Moravian missionaries in the English and Danish islands, where the number of converted Negroes amounts to upwards of 24,000; who so far excel the unconverted Negroes, in the conscientious discharge of all the duties attached to their humble station, that they are held by the Planters in the highest estimation, and are purchased at a higher price than their Heathen brethren.</div><div><b>I cannot therefore help flattering myself that</b> you will, without hesitation, adopt this benevolent system. It may be tried at first in one parish in any of the islands, and if it should succeed in that (of which there can be no doubt) it will of course encourage you to extend it gradually through every parish in every British island.”</div><div><br /></div><div>“…the clergyman of the parish in which they reside will probably have the goodness to add his influence and exhortations for the same important purpose; and also to prepare a short form of public prayers for them, consisting of a certain number of the best Collects of the Liturgy, the Creed, the Lord's Prayer, and the Ten Commandments, together with select portions of Scripture, taken principally from the Psalms and Proverbs, the Gospels, and the plainest and most practical parts of the Epistles, particularly those which relate to the duties of slaves towards their masters. </div><div><br /></div><div>“…The other objection which may possibly impede the introduction of the parochial schools into the West-India islands is <b>the idea taken up by some of the Proprietors, that by making their Negroes good Christians they make them bad Slaves</b>; that by admitting them to baptism, to divine worship, to the holy sacrament, and the other privileges and advantages of the Gospel, they bring them too much on a level with themselves, they. raise their ideas above their condition, they inspire them with pride and ambition, render them less fit for labour, less disposed to fulfil the duties of their humble station, and less submissive and obedient to their masters.”</div><div><br /></div><div>“…<b>As well might it be affirmed that the laws of England have a natural tendency to encourage despotism, tyranny, oppression, and persecution. But there is no need for reasoning upon the subjec</b>t. Let us go to experience and to fact. There are, as I have already observed, many thousands of Negro Slaves converted to Christianity in some of the British islands, especially that of Antigua; and what is the case with them? <b>Are they by conversion rendered proud, insolent, idle, disinclined to labour, rebellious and disobedient to their masters? </b></div><div><b>Quite the contrary. </b>They so much excel all the unconverted Slaves in sobriety, industry, honesty, fidelity, submission and attachment to their masters, that every Proprietor is anxious to procure them, and, as I have before observed, will give a higher price for them than for their Heathen brethren. </div><div>And how can we wonder at <b>this superiority over their Pagan fellow-labourers, when we recollect that the DIVINE RELIGION which they have embraced most expressly enjoins them, under pain of God's displeasure here, and of the severest punishment hereafter, “to be subject to their masters with all fear, not only to the good and gentle, </b>but also to the froward: to please them well in all things, not answering again; not purloining, but shewing all good fidelity; not with eye-service, as men-pleasers, but as the servants of Christ, with “goodwill doing service as to the Lord and not to man. </div><div><b>If anyone wished to form a slave exactly to his mind, could he possibly do it in terms more adapted to the purpose than these? </b>And accordingly such effects have been produced on the minds and conduct of converted Negroes as might naturally be expected from them. Having thus, I trust, effectually answered the only plausible objections which I have ever heard stated against the introduction of Christianity among the Negro Slaves, and shewn that such a measure would be no less conducive to your temporal advantage than to their eternal interests; I should hope that this consideration alone would be sufficient to determine you in favour of the proposition here made to you. </div><div><b>But you must allow me,</b> Gentlemen, to add, that I by no means rest this great question on the ground cither of private or public utility, but on much higher and nobler principles; on the principles of justice, of humanity, of religion, of duty; by which most sacred ties you are bound as men and as Christians, to take care of the souls as well as of the bodies of that numerous race of men, over whom you have obtained the most absolute dominion. </div><div>They are yours, the whole man, both body and soul. <b>They are your sole and entire property. Their welfare is placed exclusively in your hands; their happiness or misery depends absolutely on your care of them</b>, and by taking entire possession of them, you have made yourselves responsible for them, both here and here after. To you they look up as their masters, governors, guardians, and protectors; as the guides that are to open to them the way to a better world; and they will not, I trust, look up to you in vain. It is a debt which is strictly due to them; an act of compassion to which they have the strongest possible claim.</div><div>By that very large share which the British Nation and the British Islands have, for several centuries, taken in the importation of Slaves from Africa, many thousands, many millions of innocent unoffending human beings have been torn from their native land, from every blessing that was valuable, every connexion that was dear to them, have been conveyed against their will to a country and to a people unknown to them , and without any offence or fault of theirs have been doomed 'TO PERPETUAL SERVITUDE, a servitude too which at their death they leave (the only inheritance they have to leave) entailed upon their latest posterity. </div><div>These surely are sufferings which call for some compensation; and what better, what more proper compensation can there be, than that of communicating to them the blessings of the Gospel, and opening to them the reviving prospect of eternal felicity in another life, since their fate has been so unfortunate in this. <b>This will be an act of kindness, of benevolence, of charity in its highest and sublimest form, and productive of the most extensive and substantial good.</b> It is a boon which, comparatively speaking, will cost you nothing, but to the objects of it will be invaluable. It will be a cordial to their hearts, and a support under their toils; it will sooth their minds with all the consolations of religion; <b>it will make even servitude itself sit light upon them, and cheer their souls with the hope of eternal freedom and felicity in another world. </b></div><div>Instead of lessening their inclination to labour, it will increase their industry and their desire (in conformity to the commands of the religion they have embraced) to please their masters in all things. <b>It will redouble their attachment to those masters, and bind them down to the performance of all their duties by the strongest ties of affection and gratitude. </b>Nor will you, Gentlemen, be without your reward, and that the highest and most gratifying that a human being can receive, the approbation of God , and the applause of the whole world. </div><div>You will have the immortal honour of founding a new school for piety and virtue in the bosom of the Atlantic Ocean, of erecting a noble structure of religion and morality in the Western world, of exhibiting to mankind the interesting spectacle of a very large community of truly Christian Negroes, and of leading the way to the salvation of more than 500, 000 human beings, (immersed before in the grossest ignorance, superstition, wickedness, and idolatry) with all their countless descendants to the end of time. </div><div>E<b>ND QUOTES FROM PORTEUS’S LETTER:</b></div><div><br /></div><div>What a load of crap! And now, here are the passages in P&P relating to Mr. Collins that I suggest clearly were inspired, in no small part, by Porteus’s exotic mixture of hypocrisy and self-importance:</div><div><br /></div><div>Ch. 17: “She was not the better pleased with [Mr. Collins’s] gallantry from the idea it suggested of something more. It now first struck her, that s<b>he was SELECTED from among her sisters</b> as worthy of being mistress of Hunsford Parsonage, and of assisting to form a quadrille table at Rosings, in the absence of more eligible visitors.</div><div><br /></div><div>Ch. 19: “Believe me, my dear Miss Elizabeth, that your modesty, so far from doing you any disservice, rather adds to your other perfections. You would have been less amiable in my eyes had there not been this little unwillingness; but allow me to assure you, that I have your respected mother’s permission for this address. You can hardly doubt the purport of my discourse, however your natural delicacy may lead you to dissemble; my attentions have been too marked to be mistaken. Almost as soon as I entered the house, I singled you out as the companion of my future life. But before I am run away with by my feelings on this subject, perhaps it would be advisable for me to state my reasons for marrying—and, moreover, for coming into Hertfordshire <b>with the design of SELECTING a wife</b>, as I certainly did.”</div><div>The idea of Mr. Collins, with all his solemn composure, being run away with by his feelings, made Elizabeth so near laughing, that she could not use the short pause he allowed in any attempt to stop him further, and he continued:</div><div>“<b>My reasons for marrying are, first,</b> that I think it a right thing for every clergyman in easy circumstances (like myself) to set the example of matrimony in his parish; <b>secondly, </b>that I am convinced that it will add very greatly to my happiness; and <b>thirdly</b>—which perhaps I ought to have mentioned earlier, that it is the particular advice and recommendation of the very noble lady whom I have the honour of calling patroness. </div><div>Twice has she condescended to give me her opinion (unasked too!) on this subject; and it was but the very Saturday night before I left HUNSFORD—between our pools at quadrille, while Mrs. Jenkinson was arranging Miss de Bourgh’s footstool, that she said, ‘Mr. Collins, you must marry. A clergyman like you must marry. Choose properly, choose a gentlewoman for my sake; and for your own, let her be an active, useful sort of person, not brought up high, but able to make a small income go a good way. This is my advice. Find such a woman as soon as you can, bring her to Hunsford, and I will visit her.’ </div><div>[…]</div><div>“Really, Mr. Collins,” cried Elizabeth with some warmth, “you puzzle me exceedingly. If what I have hitherto said can appear to you in the form of encouragement, I know not how to express my refusal in such a way as to convince you of its being one.”</div><div>“You must give me leave to flatter myself, my dear cousin, that your refusal of my addresses is merely words of course. <b>My reasons for believing it are briefly these:</b> It does not appear to me that my hand is unworthy of your acceptance, or that the establishment I can offer would be any other than highly desirable. My situation in life, my connections with the family of de Bourgh, and my relationship to your own, are circumstances highly in my favour; and you should take it into further consideration, that in spite of your manifold attractions, it is by no means certain that another offer of marriage may ever be made you. Your portion is unhappily so small that it will in all likelihood undo the effects of your loveliness and amiable qualifications. As I must therefore conclude that you are not serious in your rejection of me, I shall choose to attribute it to your wish of increasing my love by suspense, according to the usual practice of elegant females.”</div><div><br /></div><div>Ch. 57: “…Mr. Collins moreover adds, ‘I am truly rejoiced that my cousin Lydia’s sad business has been so well hushed up, and am only concerned that their living together before the marriage took place should be so generally known. I must not, however, neglect the duties of my station, or refrain from declaring my amazement at hearing that you received the young couple into your house as soon as they were married. It was an encouragement of vice; and had I been the rector of Longbourn, I should very strenuously have opposed it. <b>You ought certainly to forgive them, as a Christian, but never to admit them in your sight, or allow their names to be mentioned in your hearing.’ That is his notion of Christian forgiveness!.</b>..” </div><div><br /></div><div>And it turns out that <b>Porteus’s striking resemblance to Mr. Collins was actually first noticed 120 years ago:</b></div><div><br /></div><div>The Home Counties Magazine 1901</div><div>“Sundridge, Kent” by Arthur Maude</div><div>“Sundridge… is a village of some interest. The manor has been in the hands of various well- known houses… it is entered in Domesday Book as the property of the archbishop…</div><div>…The most important grave in the churchyard is that of Dr. Porteus, once Bishop of Chester, whom Pitt made Bishop of London in 1787. He lived in the house in Sundridge still known as Bishop's Cottage, and was buried there in 1809. Porteus is almost forgotten now, but was a hierarch of importance in his day. He was one of the many scandalous pluralists of that time; he held the living of HUNTON at the same time as Lambeth, kept both when master of St. Cross Hospital, and was rector of HUNTON as long as he was Bishop of Chester. </div><div>He was not a great scholar, and was coarsely attacked by Porson, and by that ponderous pedant Parr (who would attack any bishop whom Pitt appointed ), as “a poor paltry prelate, proud of petty popularity and perpetually preaching to petticoats. </div><div>T<b>here is very good internal evidence in <i>Pride and Prejudice </i>that the diction and foibles of the good bishop were in Jane Austen's mind when she produced that delicate satire on the clergy of the day, the character of Mr. Collins. </b></div><div>We should prefer to remember the excellent position taken by Dr. Porteus on the slavery question, and his judicious support of Robert Raikes' movement for the establishment of Sunday schools.” </div></div><div><br /></div><div>Did you notice that little touch – that <b>“Hunton” became “Hunsford</b>”???</div><div><br /></div><div>And from <i>Anecdotal Reminiscences of Distinguished Literary and Political Characters</i></div><div>by Leigh Cliffe, Esq. (1830, we also learn<b> these Mr. Collins-esque details:</b></div><div><br /></div><div>“Though Dr. Porteous was religious in the strictest sense of the term, <b>no man was a stronger advocate for rational amusement. He liked his rubber at whist, and could be pleased with a song.”</b></div><div><br /></div><div>However, I doubt that Maude, despite his good ear for echoes of diction, understood that this was not just Jane Austen covertly satirizing a ridiculous hypocrite. It was also, under the surface, a searing condemnation of the complicity of the Anglican clergy in colonial slavery – and of the kind of self-deluding absurdity that could, without a trace of irony (a la The Onion or Borat), construct an elaborate argument for why abolition of the slave trade was good -- and yet, at the same time, making slaves good Christians would also make them good (meaning, productive) slaves – all the while, as Jane Austen would put it, “keeping his countenance” (i.e,. a straight face).</div><div><br /></div><div>ARNIE</div><div>@JaneAustenCode on Twitter</div></div><div><br /></div>Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-87942705544889772942020-09-28T20:10:00.004-04:002020-09-29T23:50:27.481-04:00For Love, Money….and Worldly Wisdom: How to Read Jane Austen Better<p>Today, a good (non-Janeite) friend alerted me to the publication of yet another article about Jane Austen:</p><p>“How to Misread Jane Austen (or, For Love or Money)” by Louis Menand in The New Yorker 09/28/20</p><p>https://www.newyorker.com/magazine/2020/10/05/how-to-misread-jane-austen</p><p>(I believe this link is now openly accessible, even without a New Yorker subscription) </p><p>I just read with great interest this serious, comprehensive article, by a well-respected public intellectual, Louis Menand, a Harvard prof. He made a number of good points, in particular in his detailed analysis of the nuts and bolts of Regency Era dollars and cents (no, make that pounds). And he didn't shy away from grappling with the Big Picture, trying to bring a fresh perspective on the central mystery of Jane Austen, which is "Why she is read so differently by readers coming from varied perspectives?"</p><p>Nevertheless, every so often, Menand popped out a statement that I believe would benefit from clarification (and in a couple of cases, correction) from my admittedly non-mainstream perspective on Austen, so here goes. I quote selectively, but obviously you will want to read Menand's full article, to see the full context of his claims:</p><p><br /></p><p><span style="color: red;">Menand: “[Jane Austen’s surviving] letters that remain are not especially “Austenian,” and they can be a little hard-hearted and judgy, which does not match very well the image of Austen in the pious biographical sketch written by her brother Henry, shortly after her death, or in the memoir by her nephew James Edward Austen-Leigh, published more than fifty years later, which is mainly family oral remembrance, and in which she is “dear Aunt Jane.”</span></p><p>The problem of misrepresentation of the real Jane Austen by his nephew is far more serious. The surviving letters indeed do not match the bowdlerized portrait of Austen both literally and figuratively provided by the 1870 Memoir. This was not because her nephew wore rose-colored glasses, however, it was because, as my research has shown, her nephew deliberately distorted his Aunt Jane, both as a person and as a writer, to the world. </p><p>This was, I further assert, a deliberate erasure of the real Jane Austen, who was a strong feminist and probably not heterosexual. But it was also personal -- it was a long-delayed revenge on behalf of his late mother, Mary Lloyd Austen, who was not kindly disposed to her sister-in-law, Jane; and, when you look at veiled portraits of Mary in Jane Austen’s fiction, most notably Fanny Dashwood in <i>Sense and Sensibility, </i>you see that the antipathy was entirely mutual.</p><p><br /></p><p><span style="color: red;">Menand: “Instead of asking what Austen is trying to tell us [in her fiction], we might ask what she’s trying to show us. But the answer to that seems to be: It depends on who’s looking.”</span></p><p>That is both accurate and highly significant, and I will explain what that means to me, further, below.</p><p><br /></p><p><span style="color: red;">Menand: “The critical line on her, even from admirers like Sir Walter Scott, was that she was a miniaturist specializing in an exceedingly narrow sector of British society, the landed gentry. Everyone agreed that she captured that world with astonishing precision; not everyone felt that it was a world worth capturing. “A carefully fenced, highly cultivated garden with neat borders and delicate flowers,” Charlotte Brontë described P&P to a friend. “I should hardly like to live with her ladies and gentlemen in their elegant but confined houses.”</span></p><p>I believe it’s much more complicated, and much more interesting, than that, both as to Scott and even more so as to Charlotte Bronte:</p><p>Scott’s 1816 review of <i>Emma </i>shows that he actually was the first to recognize Austen’s towering genius, especially her subtle subversiveness. Check out how, e.g., in that same review, he captured, in passing, the anti-romance hidden just beneath the romantic climax of <i>Pride and Prejudice</i>:</p><p>Scott: " The lady [Elizabeth], on the contrary, hurt at the contempt of her connections, which the lover [Darcy] does not even attempt to suppress, and prejudiced against him on other accounts, refuses the hand which he ungraciously offers, and does not perceive that she has done a foolish thing until she accidentally visits a very handsome seat and grounds belonging to her admirer. <b>They chance to meet exactly as her prudence had begun to subdue her prejudice; and after some essential services rendered to her family, the lover becomes encouraged to renew his addresses, and the novel ends happily.</b>"</p><p>So much for the romantic ending of <i>Pride and Prejudice</i>! Scott slyly suggests that the joke is actually on Elizabeth, when she unwittingly reveals her own “prudence” to the reader, as she answers her sister Jane’s question at the end of the novel:</p><p>Jane: “My dearest sister, now be serious. I want to talk very seriously. Let me know every thing that I am to know, without delay. Will you tell me how long you have loved [Darcy]?”</p><p>Eliza: “It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley.”</p><p>I could not agree more with Scott, and tip my hat to him for reading Austen through an Audenesque lens.</p><p>As for Charlotte Bronte, her famous comments about Austen’s fiction were not written to “a friend” – they were written to George Henry Lewes, one of the most prominent literary critics of her day, who also just happened to become, not much later, the long-time S.O. of the next great English female novelist, George Eliot. </p><p>Oh, and I assert that C. Bronte, in complaining about the lack of passion in Austen’s novels, was pulling Lewes’s pompous leg, in just the same way that Mark Twain would do with his friend and avid Janeite, William Dean Howells, a half century later – <i>Jane Eyre </i>is actually crammed from one end to the other with veiled allusions to each and every one of Austen’s six published novels; and Mark Twain, I assert, lurved Austen’s writing – of course he did, because she was an inspiration to him in the Art of the Put-on.</p><p><br /></p><p><span style="color: red;">Menand: “Still, there were readers who detected an edge. Woolf was one. “I would rather not find myself in the room alone with her,” she wrote. The British critic D. W. Harding, in 1939, proposed that Austen’s books were enjoyed “by precisely the sort of people whom she disliked; she is a literary classic of the society which attitudes like hers, held widely enough, would undermine.” The title of his essay was “Regulated Hatred.” Lionel Trilling, in 1955, called Austen “an agent of the Terror,” meaning that she is merciless in forcing us to confront our moral weaknesses.”</span></p><p>Harding, 80 years ago, was one of the first to “get” the real Jane Austen. However, it should be noted that his brilliant insight has <i>still</i> not become mainstream in Austen scholarly circles, even now in 2020. </p><p><br /></p><p><span style="color: red;">Menand: “Today, there are two Austens, with, probably, a fair amount of overlap: the recreational reader’s Austen and the English professor’s Austen… the professor thinks that the novels are about things that people like Churchill and Leslie Stephen thought they leave out: the French Revolution, slavery, the empire, patriarchy, the rights of women…”</span></p><p>As Menand goes on to clarify a bit later in his essay, it’s a much more complicated readerly landscape than that. There are many recreational, non-scholarly readers of Austen who “get” what Harding got, and also see that Austen was what we today would call a strong feminist; and conversely, there are still a fair number of Austen scholars who (100% wrongly, in my view) still read Austen as a pious conservative, who was not concerned with the wider world. And by they way, I am also, as I mentioned above, firmly of the small camp that sees Austen herself as non-heterosexual, and I also see that as present in every one of what I call her "shadow stories" (a central term of my way of reading Austen's fiction, as I explained in an 2016 interview which I've linked below.</p><p><br /></p><p><span style="color: red;">Menand: “Literature professors love the notion of texts “interrogating” things; I am a literature professor, and I have certainly used that line. But, in this case, it feels like fence-straddling. It asks us to accept an Austen who is somehow simultaneously conservative as a person and subversive as a writer. Keymer says things like “The courtship plot that structures all 6 of Austen’s published novels, though sometimes held to imply her endorsement of a patriarchal status quo, is equally a means of exploring themes of female disempowerment.” It’s hard to see how the novels can be “equally” endorsements of patriarchy and criticisms of it.”</span></p><p>My answer is, simply, that the apparent endorsements of heterosexual white patriarchy were a necessary cover or ‘beard’ (or else Austen could never have gotten published) for her own genuine, savage, but veiled, critique of white male oppression of women and POC. Jane Austen, as I see her, was not of two minds in this regard. However, what she was perhaps most interested in, was in teaching her female readers how to read the male-dominated world they lived in.</p><p><br /></p><p><span style="color: red;">Menand: “[Helena] Kelly’s Mr. Knightley, in short, is a heartless landowner intent on building a private fiefdom. She thinks the reason he marries Emma is that he wants to absorb her property, one of the few parcels of land around Highbury he does not already own, into his estate. Keymer would not object to this line of interpretation, presumably—“implication, not explication, was Austen’s way,” he says—but would be reluctant to conclude that it means that Austen was a revolutionary.”</span></p><p>Helena Kelly learned a thing or two from me, as I explained in this blog post 4 years ago:</p><p>https://sharpelvessociety.blogspot.com/2016/11/all-shadow-stories-of-jane-austen.html</p><p>I also believe that Austen’s primary subversive focus was eerily prescient of the culture wars raging at this very second in the U.S. – the battle for control over women’s bodies and sexuality. Her hobby horse, revealed a dozen times over in surviving letters she wrote over the entire last 20 years of her all-too-short life, was the plague which afflicted married English gentlewoman in “normal” English marriages – bearing the heavy cross of serial pregnancy, the ever-present danger of death in childbirth, and the lack of any sort of creative life for those wives lucky enough to run that gauntlet and survive physically.</p><p>That is the essence of the shadow story of <i>Northanger Abbey </i>that I spoke about at the 2010 Annual General Meeting of the Jane Austen Society of North America (JASNA). Hovering over that "lightest" of Austen's six novels is the ghost of Mrs. Tilney as the symbol of all the dead or deadened English wives “murdered” by their Bluebeard-like “normal” husbands via sex -- unwilling soldiers conscripted into a domestic war they never asked to fight in, fought to perpetuate male domination.</p><p><br /></p><p><span style="color: red;">Menand: “…Isn’t it because Austen’s texts are so indeterminate that she is beloved by people who come to her with different prejudices and expectations? And isn’t her mythic stature produced by her writing, rather than projected by her readers? Isn’t inscrutability part of the intention? That we don’t know much about Austen from her letters (or from what we have of them) suggests that she didn’t want people to know much about her, period.”</span></p><p>I was with Menand in that passage till that last sentence. We can know a great deal from her fiction and her letters, if we are prepared to learn how to read what I call The Jane Austen Code, as I explained in this 2017 interview: https://www.youtube.com/watch?v=G9WkpqjJPR4</p><p>Anyone who enjoys solving Will Shortz’s Thursday-Saturday crossword puzzles will really love solving Jane Austen’s literary puzzles – I believe she meant them to be difficult, but not unsolvable!</p><p><br /></p><p><span style="color: red;">Menand: “All of Austen’s novels are about misinterpretation, about people reading other people incorrectly. Catherine Morland, in NA, reads General Tilney wrong. Elizabeth Bennet reads Mr. Darcy wrong. Marianne Dashwood, in S&S, gets Willoughby wrong, and Edmund Bertram, in MP, gets Mary Crawford wrong. Emma gets everybody wrong. There might be a warning to the reader here: do not think that you are getting it right, either.”</span></p><p>Half-correct. I say Jane Austen’s literary game was much more complicated (and brilliant), The above only describes the essence of Austen’s <i>overt</i> stories. But it turns out that in her <i>shadow</i> stories, all of that is topsy turvy --Catherine reads the General right; Elizabeth Bennet initially reads Darcy right, but then gets conned by his imposture of a repentant narcissist; Mary Crawford is the true heroine of Mansfield Park, etc. etc. Although it never came to pass, I believe that Austen's dream was that her readers, in being able to see both of these realities in each novel, would be better equipped to deal with the ambiguity of their own lives.</p><p><br /></p><p><span style="color: red;">Menand: “<i>Emma</i>, for instance, is the only mature novel Austen named for a character, and that is because the entire narrative, except for one chapter, is from Emma’s point of view.”</span></p><p>NO!!! That was the only truly wrong statement by Menand that initially prompted me to write this post. Although it is almost never noted by Austen scholars other than myself, all 6 of Austen’s published novels (and also her 3 fragments <i>Catharine, or the Bower, The Watsons, </i>and <i>Sanditon</i>) are written 98% from the focal heroine’s point of view. <i>Emma</i> is merely the one Austen novel in which Austen foregrounds that near-exclusivity of point of view – in the others, it's there, but she seems to deliberately conceal it, hoping it would eventually be detected - but that never came to pass in the 2-century history of people reading her novels.</p><p>That is the foundation upon which Austen’s entire fictional enterprise rests. The focal heroines of each novel, and not just <i>Emma,</i> are almost entirely the only eyes and minds through which we know their respective fictional worlds. There are therefore two completely different ways to read Austen’s famous third person narrative voice: as largely objective, and therefore largely reliable; or as largely subjective, and therefore potentially largely unreliable.</p><p>This is precisely what enabled Jane Austen to write double stories – if the reader accepts the focal heroine’s hundreds of judgments on what they see, feel, hear, etc., then we have the overt story; but if the reader makes a concerted effort to get outside that bubble, then the shadow stories – with all their pervasive subversion of the patriarchy that I have found there – become accessible. </p><p>Best example: If Darcy actually reforms and repents, then it is a truly happy romantic ending. But if he only pretends to reform and repent, and then devotes all his energy toward conning Elizabeth into believing a fake version of his character, then it’s the ultimate cautionary tale. Both fictional worlds are contained in the same words, depending on the reader’s point of view -- an omniscient narrator or a fallible young person.</p><p><br /></p><p><span style="color: red;">Menand: “The people who read Austen for the romance and the people who read Austen for the sociology are both reading her correctly, because Austen understands courtship as an attempt to achieve the maximum point of intersection between love and money. Characters who are in the marriage game just for love, like Marianne Dashwood, in S&S, are likely to get burned. Characters in it just for the money, like Maria Bertram, in MP, are likely to be unhappy.”</span></p><p>And, for all my above criticisms of Menand’s statements, I am largely in accord with the above, pithy summation, and the rest of his detailed analysis of Austen’s meticulous focus on the actual income and wealth of each of the characters. </p><p><br /></p><p><span style="color: red;">Menand’s final words: “Does this mean that [Austen] was pressing her nose against the glass imagining a life she was largely excluded from? Or does it mean that she could see with the clarity and unsentimentality of the outsider the fatuity of those people and the injustices and inequalities their comforts were built on? We can only guess.”</span></p><p>The latter. But we can do much more than guess, and I will let “Mrs. Pole”, one of the persons whose opinion of <i>Mansfield Park </i>Jane Austen collected in 1814, explain:</p><p>"There is a particular satisfaction in reading all Miss A----'s works -- they are so evidently written by a Gentlewoman --most Novellists fail & betray themselves in attempting to describe familiar scenes in high Life; some little vulgarism escapes & shews that they are not EXPERIMENTALLY ACQUAINTED with what they describe, but here it is quite different. Everything is natural, & the situations & incidents are told in a manner which clearly evinces the Writer to belong to the Society whose Manners she so ably delineates.” </p><p>[Mrs. Pole is then quoted by Austen in third person] </p><p>Mrs. Pole also said that no Books had ever occasioned so much canvassing & doubt, & that everybody was desirous to attribute them to some of their own friends, or to some person of whom they thought highly.”</p><p>But who was this “Mrs. Pole”, and why should be trust her high praise for the accuracy of Austen's portrait of those aristocrats whom Harding (rightly) said she hated? It’s a reflection of the lack of curiosity about Jane Austen’s possible connectivity to the highest levels of English intellectual society, that it was not until 2005, when I was the first Austen scholar to ever take the time to figure out who, exactly, this “Mrs. Pole” was, who wrote such a startlingly brilliant reaction to <i>Mansfield Park</i>. </p><p>She was born Elizabeth Colyear, the illegitimate daughter of an Earl (like a character in one of Austen’s wild juvenilia). And she then became Mrs. Pole. But, after her husband died, the world came to know her by her final married name: “Elizabeth Darwin”, the wife of Erasmus Darwin! </p><p>She was also the inspiration for Erasmus Darwin's famous erotic poem “The Botanic Garden”, which I believe was part of the subtext of Austen’s <i>Catharine, or the Bower</i>. And she was also the stepgrandmama of Charles Darwin, the passionate Janeite who was a great scientist of the natural world the way Jane Austen was, as Mrs Pole implied, a great scientist of the social world.</p><p>So, as I said, we don’t have to guess – we know that Jane Austen was the ultimate social critic; and, what’s even more remarkable, she found a way to share some of her insight with her readers, for them to learn about life as she saw it, by reading these novels which function as Zen koans. </p><p>Or as Elizabeth Bennet put it, in a line that never makes it into any of the Austen film adaptations, because nobody knows what the hell she means: “We all love to instruct, though we can teach only what is not worth knowing.”</p><p>Jane Austen ultimately was all about teaching by not teaching, what was worth knowing. And we can all agree that she not only gave us the highest quality fiction reading experience, she also taught us how to live better. </p><p>Cheers, ARNIE </p><p>@JaneAustenCode on Twitter</p><p>P.S.: I checked my old files, and saw that Menand, in The NY Review of Books in February 1996, opined that Emma Thompson’s making Edward Ferrars and Colonel Brandon much more sexy and appealing as romantic heroes were “improvements on Austen’s original”. Menand further wrote that the chief problem of Sense and Sensibility that Thompson solved was “the stupefying dullness of the men the Dashwood sisters eventually pair off with”.</p><p>What I hope I’ve made clear in my above post is that Jane Austen fully intended to de-romanticize Edward and the Colonel, because, in the shadow story of the novel, they are neither of them good men, not by a long shot – Marianne Dashwood was right, not Elinor!</p><div><br /></div>Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com5tag:blogger.com,1999:blog-1436417288060370638.post-35991765837523407152020-09-26T16:25:00.001-04:002020-09-26T16:25:26.509-04:00Quiz about two famous stories, seemingly unrelated, which actually have (at least) 9 parallels between them <div>[Answer is given below when you scroll down]</div><div><br /></div><div>I’m thinking of two famous stories which are parallel with each other in each of the following nine ways. In each story:</div><div><br /></div><div>ONE: There is an unreliable narrative point of view;</div><div><br /></div><div>TWO: The plot involves multiple interwoven, doomed extramarital affairs;</div><div><br /></div><div>THREE: There is a death of a major character near the end of the story which occurs in water, and it may be a homicide;</div><div><br /></div><div>FOUR: We repeatedly witness the careless arrogance of the rich toward the less well off;</div><div><br /></div><div>FIVE: Most or all of the action takes place in a small seaside community on Long Island, and in nearby NYC;</div><div><br /></div><div>SIX: A key plot turn involves the death of one character by hit-and-run in a car driven by a woman; but then the man who loves her in their doomed affair takes responsibility, and falsely claims to have been the driver, in order to save her from prosecution; </div><div><br /></div><div>SEVEN: A major male character is covertly involved in the distribution of an illegal intoxicating substance,</div><div><br /></div><div>and, last but not least, these two word clues:</div><div><br /></div><div>EIGHT: One of the male characters whose point of view is major in the story has a first name beginning with the letter N, and a last name ending with the syllable "way", and</div><div><br /></div><div>NINE: The first name of the character who is killed in the hit and run in one story is the same as the first name of the famous author of the other story.</div><div><br /></div><div>Any guesses? Rather than tease around, I will give you the answer below, but if you want to have some fun, wait to scroll down. You may well recognize one of the answers right away, but not the other. </div><div><br /></div><div><b>NOTE: Spoilers as to certain plot points in both stories</b></div><div><br /></div><div><br /></div><div>[SCROLL DOWN]</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>[SCROLL DOWN]</div><div><br /></div><div><br /></div><div><br /></div><div>[SCROLL DOWN]</div><div><br /></div><div><br /></div><div><br /></div><div>[SCROLL DOWN]</div><div><br /></div><div><br /></div><div>The two correct answers are <i>The Great Gatsby </i>and <i>The Affair</i>. Now for a brief unpacking of all this. First the actual parallels (and this is massive spoilers for both <i>The Affair </i>and <i>The Great Gatsby</i>)</div><div><br /></div><div>I first got the idea for this post, when my friend Elaine Bander wrote in Facebook the other day, that she had noticed for the first time that there were structural parallels between Emily Bronte’s Wuthering Heights and F. Scott Fitzgerald’s The Great Gatsby. </div><div><br /></div><div>I was curious to try to figure out what those parallels might be, given that I had read both WH and TGG, and I always love investigating intertextuality hidden in plain sight – and it was while reading the Wikipedia synopsis of TGG, and I was reminded that there was a hit-and-run negligent homicide in it, which was a pivotal plot twist leading to the tragic climax of the novel. </div><div><br /></div><div>That immediately brought to my mind one of the most pivotal plot points of the recently concluded 5-season Showtime series The Affair, in which a hit-and-run negligent homicide similarly functions as a pivotal plot twist, although it occurs near the start of the series, a terrible event that shapes the arc of the entire rest of the story.</div><div><br /></div><div>Now, as of 2 days later, I have collected the above 9 parallels between The Great Gatsby and The Affair, which, trebly over, confirm that Sarah Treem, the show creator, was being very very sly about alluding to The Great Gatsby, hiding it in plain sight, but only for those who were familiar with The Great Gatsby. I am sure there are more that I have not yet found, as I need to reread TGG to see what else rings a bell in The Affair. </div><div><br /></div><div>And, beyond the scavenger hunt, puzzle solving fun of the above, the more significant question is to ask what light this hidden-in-plain-sight allusion in The Affair casts on The Great Gatsby? And also, in reverse, what light does The Great Gatsby cast on how we should understand The Affair? I don’t have any developed answers yet, but I have a strong hunch that this was not just a literary parlor trick by Treem, and that both of these inquiries will enrich our understanding of both works.</div><div><br /></div><div>In this regard, check out this answer by Treem to a question in an August 2016 interview about The Affair:</div><div><br /></div><div>https://observer.com/2016/08/the-affair-creator-answers-key-question-is-noah-solloway-actually-a-good-writer/</div><div>“The Affair’ Creator Answers Key Question: Is Noah Solloway Actually a Good Writer?”</div><div>By Vinnie Mancuso 08/11/16 </div><div>But the one trait we can’t confirm with absolute certainty is whether Noah Solloway–two time novelist, literary dynamo, pillar of masculinity, etc etc–is actually a talented writer. We posed that question to The Affair creator Sarah Treem, as part of a larger interview that will run closer to season 3’s November premiere date.</div><div>“Oh, you mean THE Noah Solloway? I think Noah has the potential to be a great writer,” Treem said, sitting in the lobby bar of the Beverly Hilton hotel. “I’m not sure he’s reached it yet. But I think he’s got it in him.</div><div>“I think in a lot of ways,” she continued, “Noah is writing to be known. He’s writing basically for the sake of having that reputation, of being known as a writer. But I think some people that are heavily invested in the identity of a writer are incredible writers. You go back to the F. Scott Fitzgeralds and the Ernest Hemingways, they all cared very deeply about being seen as a writer.”</div><div>Well, there you have it. Noah Solloway is basically F. Scott Fitzgerald mixed with Ernest Hemingway. Suck it, Bruce Butler." </div><div>END QUOTE FROM SARAH TREEM INTERVIEW</div><div><br /></div><div>So Sarah Treem played fair with her fans, and couldn’t resist leaving an extra-textual Easter Egg (or should I say, East Egg?) for fans of The Affair! </div><div><br /></div><div>And now that I reread that quote, it also makes me wonder whether it is only my relative lack of familiarity with Hemingway’s fiction is the reason why I haven’t yet realized that Hemingway might be a spice in Treem’s literary stew as well --- “Sollo-WAY” as pointing not only to “Nick Carraway” but also…..to “Nick Adams” the protagonist of Hemingway’s autobiographical story collection?</div><div><br /></div><div>But for today, I will finish with a quotation of the final paragraphs of The Great Gatsby. I defy anyone who has watched The Affair to tell me that they’re not strangely reminded of it, especially of the tragic character of Allison:</div><div><br /></div><div>On the last night, with my trunk packed and my car sold to the grocer, I went over and looked at that huge incoherent failure of a house once more. On the white steps an obscene word, scrawled by some boy with a piece of brick, stood out clearly in the moonlight and I erased it, drawing my shoe raspingly along the stone. Then I wandered down to the beach and sprawled out on the sand.</div><div>Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors' eyes--a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby's house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.</div><div>And as I sat there brooding on the old, unknown world, I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy's dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.</div><div>Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that's no matter--tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning----</div><div><b>So we beat on, boats against the current, borne back ceaselessly into the past.</b></div><div><b><br /></b></div><div>I can almost hear the haunting strains of Fiona Apple's compelling song "Container" that is the theme music of The Affair.</div><div><br /></div><div>Cheers, ARNIE</div><div><br /></div>Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-63482095477794298752020-09-07T15:13:00.001-04:002020-09-07T15:13:38.958-04:00Austen's Persuasion & Richardson's Clarissa<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 11pt;">It seems like the author, Christopher Fanning, of one of the articles in the latest Persuasions #41 (2019) failed to use Google in checking for prior scholarly commentary – specifically, mine -- on his topic. However, I am glad for his article, as I’ll explain below.</span></div>
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<span style="font-family: "times new roman" , serif;">First, here is a link to the post I wrote in my blog (and in Janeites, while it was still at Yahoo) on January 8, 2018: <u><span style="color: blue;"><a href="https://sharpelvessociety.blogspot.com/2018/01/the-faces-of-griselda-chaucer-prior.html" style="color: purple;">https://sharpelvessociety.blogspot.com/2018/01/the-faces-of-griselda-chaucer-prior.html</a></span></u><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">“The Faces of Griselda: Chaucer, Prior, Richardson….and Shakespeare & Austen, too!”</span><span style="font-family: "times new roman" , serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">I began as follows:<o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">“In this followup post to my earlier ones (responding to Ellen Moody’s initial post) about the allusion in Austen’s <i>Persuasion </i>to Matthew Prior’s <i>Henry and Emma</i>, I’m now ready, after further scholarly delving and reflection, to confidently explain the full significance of Austen’s allusion, to wit: Austen’s revised ending of <i>Persuasion</i>, with its memorable debate between Anne and Harville about male-dominated literature’s denial of female constancy, is part of Austen’s complex response to Prior’s famous poem; with the crucial additional insight that Austen filtered her response to Prior through Sarah Fielding’s protofeminist <i>Remarks on (Richardson’s) Clarissa</i>, which illuminates an intertextual matrix that includes Chaucer’s <i>Clerk’s Tale (and the Wife of Bath’s Tale)</i>, and one of Shakespeare’s great comedies as well!</span><span style="color: #333333; font-family: "georgia" , serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">Within that overview, <b>I see Austen as having particularly engaged in a variety of subtle ways with Richardson’s complex, tragic dyad of Clarissa and Lovelace, in constructing the relationship between her own couple, Anne and Wentworth; and having left several key textual hints in <i>Persuasion </i>pointing in that direction<i>.</i></b> That’s a lot to unpack, so I’ll get right to it….”<o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">In my 2018 blogpost, I then went, in detail, through SIX different parallels I saw between <i>Persuasion </i>and <i>Clarissa, </i>including one that is of particular relevance to my post today, in which I credited Jocelyn Harris’s for her 2006 spotting of a striking parallel”<o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">“V: THE TWO “REPULSIVELY’S”: <b>And there’s still more that unites <i>Persuasion </i>and <i>Clarissa</i></b>. Please now read the following excerpt from Jocelyn Harris’s <i>A Revolution Almost Beyond Expression</i> (2006):<u1:p></u1:p></span><span style="color: #333333; font-family: "georgia" , serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">“In the 1818 text [of <i>Persuasion</i>], Anne’s eloquence contrasts vividly with her silence in the manuscript. When Wentworth meets Anne in Union Street, it is he who ‘said nothing- only looked,’ while Anne </span><b style="font-size: 12pt;"><i><span style="color: #333333; font-size: 11pt;">‘</span></i></b><i style="font-size: 12pt;"><span style="color: #333333; font-size: 11pt;">could command herself enough to receive that look, and not repulsively’</span></i><span style="color: #333333; font-size: 11pt;">, meaning in a repelling manner. <b>Perhaps Austen recalled <i>Clarissa</i> here,</b> for that compulsive neologist Samuel Richardson seems to have invented the word for a scene where the heroine, discomposed by abduction from her father’s house to a St. Alban’s inn, shows ‘uneasiness’ before the curious servants: ‘She cast a conscious glance, as she alighted,’ and <i>‘repulsively, as I may say, quitted my assisting hand, and hurried into the house.’</i> In a typical challenge to her mentor, Austen makes Charles Musgrove incurious and Anne glad rather than disgusted by her suitor’s advances. Those readers who were familiar with Richardson, like Cassandra Austen, would understand that Anne acts in pointed denial of Clarissa’s revulsion from Lovelace when she signals to Wentworth her willingness to walk with him and accepts the offer of his arm. Also, instead of occurring at an early stage of the relationship, as with Clarissa and Lovelace, Austen’s scene occurs in the 1818 text only <i>after</i> Anne speaks out to refute all the old, misogynistic arguments about woman’s inconstancy, <i>after </i>she offers herself implicitly as an example of a faithful woman.”<u1:p></u1:p> <b>END QUOTE FROM JOCELYN HARRIS</b></span></div>
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<span style="color: #333333; font-size: 11pt;">Here’s the full passage in <i>Persuasion</i>: <o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">“They were on Union Street, when a quicker step behind, a something of familiar sound, gave her two moments' preparation for the sight of Captain Wentworth. He joined them; but, as if irresolute whether to join or to pass on, said nothing, only looked. <i>Anne could command herself enough to receive that look, and not REPULSIVELY.</i> The cheeks which had been pale now glowed, and the movements which had hesitated were decided. He walked by her side.”<u1:p></u1:p></span><span style="color: #333333; font-family: "georgia" , serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;">And here is the parallel passage in Lovelace’s letter:<o:p></o:p></span></div>
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<span style="color: #333333; font-size: 11pt;"><span style="font-family: "times new roman" , serif;">“At their alighting at the inn at St. Alban's on</span><span style="font-family: "georgia" , serif;"> </span></span><span style="color: #333333; font-family: "times new roman" , serif; font-size: 11pt;">Monday night, thus [Lovelace] writes: ‘The people who came about us, as we alighted, seemed by their jaw-fallen faces, and goggling eyes, to wonder at beholding a charming young lady, majesty in her air and aspect, so composedly dressed, yet with features so discomposed,</span><b style="color: #333333; font-family: "Times New Roman", serif; font-size: 11pt;"><i> </i></b><span style="color: #333333; font-family: "times new roman" , serif; font-size: 11pt;">come off a journey which had made the cattle smoke, and the servants sweat. I read their curiosity in their faces, and my beloved's uneasiness in hers. She cast a conscious glance, as she alighted, upon her habit, which was </span><i style="color: #333333; font-family: "Times New Roman", serif; font-size: 11pt;">no habit; </i><span style="color: #333333; font-family: "times new roman" , serif; font-size: 11pt;">and </span><i style="color: #333333; font-family: "Times New Roman", serif; font-size: 11pt;">repulsively, as I may say, quitting my hand, hurried into the house</i><span style="color: #333333; font-family: "times new roman" , serif; font-size: 11pt;">…’</span></div>
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<span style="color: #333333; font-size: 11pt;">Harris’s sharp ear has alerted her to a parallel which takes on tenfold greater meaning, when it is viewed in the context of all the parallels between <i>Clarissa </i>and the <i>Persuasion </i>scene at the White Hart Inn….”<o:p></o:p></span></div>
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<b><span style="color: #333333; font-size: 11pt;">ENDQUOTE FROM MY 2018 BLOG POST<o:p></o:p></span></b></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">Prior to my post, the only suggestions of parallels between <i>Clarissa </i>and<i> Persuasion </i>were in passing:<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">(1 the “repulsively” parallel spotted, and noted in passing, by Jocelyn Harris, as quoted above, and<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">(2) </span><span style="font-family: "times new roman" , serif;">Anthony M. Kearney, <i>Samuel Richardson, Clarissa</i> (1975):<span style="color: #333333;"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , serif;">“When Fanny is strongly advised to marry Henry Crawford (another Lovelace figure) by her uncle, in fact, <em><span style="font-style: normal;">we are almost back into </span>Clarissa</em><em><span style="font-style: normal;">. <b>Similarly</b></span><b> in Persuasion Anne Elliot</b></em><b>'s situation as a young girl whose own inclination to marry the man she loves is thwarted by someone who has what amounts to parental authority over her, echoes the familiar theme, and the ending where parental authority over children is endorsed, despite everything, has a Richardsonian ambivalence about it.</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">In both <span style="background: white;">novels Jane Austen develops Richardson's way of experiencing things through </span>the consciousness of a central character with even greater subtlety, and avoids the occasional clumsiness and prolixity of <i>Clarissa</i> by dropping the epistolary form…”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">That means that the <span style="color: #333333;">first scholarly claim of a <i>comprehensive</i> allusion by Austen in <i>Persuasion </i>to Richardson’s <i>Clarissa </i>was my January, 2018 blog post, and my followups shortly thereafter, written by me almost exactly two centuries after publication of <i>Persuasion</i>.</span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Now… with that background, take a look at the following quotation from “Austen and Richardson’s <i>Clarissa</i>: The Case of <i>Persuasion</i>” by Christopher Fanning, in that newest Persuasions #41 (2019) that we are looking at:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">“…Jocelyn Harris postulates a renewal of Austen’s youthful engagement with Richardson, dating from the publication of Barbauld’s edition of the Richardson correspondence in 1804, suggesting that Barbauld’s discussion of particular scenes in <i>Clarissa </i>as well as questions of technique offered Austen both materials and methods for her own writing (<i>Jane Austen’s Art of Memory</i>). In this study Harris moves on to discuss Richardson, including sustained attention to <i>Clarissa</i>, with particular regard to <i>Sense and Sensibility</i>. <b>Elsewhere, however, she also notes a verbal echo of <i>Clarissa </i>in <i>Persuasion</i></b> in the important scene in which Anne Elliot accepts Captain Wentworth (discussed below).<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , serif;">I wish to add to this verbal echo</span></b><span style="font-family: "times new roman" , serif;"> an additional and hitherto unnoticed use of a coinage unique to <i>Clarissa </i>in<i> Persuasion</i>, and, moving beyond Harris’s argument that the usage in the scene between Anne and Wentworth is a clue to readers of <i>Clarissa</i> for understanding the local passage in which it is found, <b>I develop an understanding of <i>Persuasion</i> as a whole as a response to and critique of Richardson’s <i>Clarissa</i>.<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif;">Harris provides a convincing reading of a Richardsonian neologism in a quiet but climactic scene at the end of <i>Persuasion,</i> when “Anne could command herself enough to receive that look [from Captain Wentworth], and not repulsively”.<span style="position: relative; top: -3pt;"> </span>Important here is the negation of “repulsively,” a word more or less unique to the scene in which the rake Lovelace completes his abduction of Clarissa and takes her to the inn at St. Albans: “She cast a conscious glance as she alighted . . . and repulsively, as I may say, quitting my assisting hand, hurried into the house as fast as she could”. Harris writes: “Those readers who were familiar with Richardson . . . would understand that Anne acts in pointed denial of Clarissa’s revulsion from Lovelace when she signals to Wentworth her willingness to walk with him and accepts the offer of his arm” (Revolution).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">The Richardsonian coinage is limited to the adverb, and so Austen’s use of “repulsive” earlier in the novel seems not to interest Harris. It is noteworthy, however, that “repulsive” appears in a sentence containing another quite uniquely Richardsonian word, “unsisterly.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">In <i>Clarissa</i>, the term is used mainly by the heroine, describing her relationship with her cruel sister, Arabella. For example: “do not, dear Bella, give me cause to suspect, that I have found a reason for your unsisterly behaviour to me; and which till now was wholly unaccountable from sister to sister”.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Implicit in its use is a moral framework about the meaning of family, something also of concern to Anne Elliot in <i>Persuasion</i>, as when she makes an interior judgment while preparing to visit her sister Mary and the Musgrove family at Uppercross: “Mary was not so repulsive and unsisterly as Elizabeth”. “Unsisterly” is found nowhere in the corpus of 18th-century literature (at least in the 180,000 titles on ECCO) other than in its 11 uses in <i>Clarissa</i>, and the OED’s 2nd example after Richardson is Austen’s.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Austen’s interest in <i>Clarissa</i> in general is thus well attested, and Harris’s “repulsively” combined with my own “unsisterly” (and other parallels noted below) would seem to place <i>Clarissa</i> in Austen’s hands—or on her desk—as she writes <i>Persuasion</i>.” <b>END QUOTE FROM FANNING<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif;">Fanning then goes on to detail his take on the allusion to <i>Clarissa </i>in <i>Persuasion.</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">So, what is the upshot of the above for me? I do wish that Fanning had just Googled “Persuasion Clarissa Austen” while he was researching for his article, as one of my January 2018 blog posts would have been the second “hit” – that would have earned me a paragraph in his article, right after Jocelyn Harris.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">However, notwithstanding that, I tip my hat to Fanning for sleuthing out a couple of really good parallels that I did not catch (confession: I have only read parts of <i>Clarissa</i>, totalling less than 2% of its massive length, mostly focused on the complex relationship between Clarissa and Anna Howe) – and I was glad to see no overlap between his catches and mine – so that, when my and his arguments are read together, they synergize, and remove even the remotest trace of a doubt that JA was indeed deeply engaged with <i>Clarissa </i>as she wrote <i>Persuasion </i>(as well as all of her earlier novels, except maybe NA).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-52987458188441872902020-06-09T18:16:00.003-04:002020-06-29T01:03:16.936-04:00Invitation to a small Austen-themed Zoom group during the COVID Era<div style="background-color: white; color: #1c1e21; font-family: system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px;">
[Updated June 28, 2020 to change the date of the first meeting]<br />
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As a hardcore Janeite for the past 26 years (I started late, at 42), and JASNA member since 2005, I'm always up for a lively, informed conversation about all things Jane Austen.</div>
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Since the COVID era began 3 months ago, I've enjoyed the luxury of having such conversations regularly, by phone and by Zoom, with a handful of close friends who share my Austen obsession.</div>
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I've also enjoyed the occasional regional JASNA Zoom event that has been opened up to various JASNA chapters; an<span class="text_exposed_show" style="display: inline; font-family: inherit;">d I really look forward to the JASNA AGM, which, I recently learned, will be held virtually in some reduced format in early October 2020. Hurray!</span></div>
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Asynchronous conversation online via emails (I've been a member of the Janeites email group since 2000) is great, but it's not really the same as the spontaneous fun of speaking in voices and, via Zoom, actually seeing the faces of one's conversational partners.</div>
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Which is all prelude to saying that I would like to add one more regular Austen Zoom conversation to my schedule, to help get through the rest of 2020, and perhaps beyond.</div>
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So I extend this invitation to any serious and open-minded Janeites -- which I will now arbitrarily define as someone who meets all 5 of these criteria:</div>
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1. loves Austen's writing,</div>
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2. has actually read at least 4 of the 6 novels at least once,</div>
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3. has read at least 1 of the 6 novels at least twice,</div>
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4. has seen at least 1 film adaptation of any of the 6 novels you haven't read,</div>
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AND</div>
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5. is NOT hostile to the idea that Jane Austen was a strong early feminist, whose writing can be read as subverting the oppressive patriarchy of her era.</div>
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As to #5, I don't mean that you have to agree with me that Austen was generally a subversive feminist, only that you are open to that possibility, and will not feel the need to argue otherwise.</div>
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I would like to find up to 8 of you to join me in participating (attending at least 50% of the sessions) in a regular Zoom that meets every OTHER week, beginning the weekend of July 4, 2020, and thereafter every other Saturday always running from 11:30 am to 1 pm Pacific Standard Time. i am setting the limit at 9 participants total, because with more than that, there wouldn't be time for everyone to really have a chance to speak enough.</div>
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My idea is for discussions and not lectures. Our topics for discussion will be selected on a fluid, rotating basis by everyone in the group, and ideally would be some particular passage or theme in one or more of the novels, that one of us thinks, and others agree, would make for a stimulating and mutually enjoyable group conversation for 60-90 minutes. This format has worked well the past 3 months in the existing group I started in March. I just want another one!</div>
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So, if you're interested, please email me at arnieperlstein@gmail.com, briefly tell me why you think you'd be a good fit, and hopefully we can assemble a group in advance of the July 4 weekend!</div>
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Cheers, ARNIE</div>
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Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-50205812436653420362020-05-26T16:41:00.001-04:002020-05-26T22:16:02.579-04:00Sally Rooney's Normal People as Midrash on Jane Austen's Emma <div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<span style="font-family: "times new roman" , serif;"> </span><span style="font-family: "times new roman" , serif; font-size: 11pt;">The following is an online dialog between myself and my good and brilliant friend, Mary Cantwell, over the past few days, regarding my claims in my initial blog post the other day here…. </span><a href="https://sharpelvessociety.blogspot.com/2020/05/sally-rooneys-normal-people-is-real.html" style="color: purple; font-family: "Times New Roman", serif; font-size: 11pt;">https://sharpelvessociety.blogspot.com/2020/05/sally-rooneys-normal-people-is-real.html</a></div>
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<span style="font-family: "times new roman" , serif;"> …about Sally Rooney's complex allusion to Jane Austen’s <i>Emma </i>that I first noticed this past weekend while watching her TV series <i>Normal People</i> (but not having yet read Rooney’s novel).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I present these brainstorms as they occurred over the past couple of days, because they illustrate the synergy of two engaged and open minds tossing theories and ideas back and forth while decoding subtle, rich works of literature in “conversation” with each other (i.e., <i>Normal People </i>as midrash on <i>Emma)</i>:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><br />BRAINSTORM # 1:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><br />Mary: "Arnie, I re-watched the series including the strawberry scene. The movie is, as you suggest, similar in feeling to C<i>all Me By My Name</i>. The Italian sun is distinctive....As for Normal People... The hot weather, squabbling and tension among the characters were all there to match Box Hill scene, though, as were the unsettledness of the relationships. There is also the dialogue begging the youth hostel travelers to please take a shower, which can be sort of reminiscent of Frank Churchill being hot and tired when he arrived at Donwell Abbey (I get Box Hill and Donwell scenes mixed sometimes)."<br /><br />Me: “Mary, it's not only the emphasis on the strawberries, and the grand rural summer vista, the hot weather, the squabbling and tension (that begins between Jane and Frank at Donwell Abbey, during the word games) and unsettledness of the relationships. That entire matrix would already be sufficient to<br />rise beyond the possibility of merely unconscious influence. But the final wink is the opening shot of Episode 8, when Connell and the other young man walk out and stand between the two pillars, which, I suggest, is an obvious and pointed allusion to Emma's reflections that I put in red in my blog post:<br />‘It led to nothing; nothing but a view at the end over a low stone wall with high pillars, which seemed intended, in their erection, to give the appearance of an approach to the house, which never had been there. Disputable, however, as might be the taste of such a termination, it was in itself a charming walk, and the view which closed it extremely pretty’ “<br /><br /><br /><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: "I don’t think this is a conscious nod to Emma, but it could very well be since Rooney WAS a recipient of an English scholarship at Trinity and Emma certainly is etched in the minds of all avid readers of English literature. (Though Rooney majored in American Lit)."<br /><br />Me: “Rooney and her film-making team had to go to special trouble to find that location with the two pillars leading nowhere (or maybe even to construct two fake pillars there?) -- clearly, in context with all of the rest of that Episode, this is all about the Donwell Abbey scene in Emma. The young woman who is Marianne's 'best friend' is clearly Mrs. Elton, hence it is she would pointedly makes her comments about cutting up all the strawberries. I'd say that Marianne is really Jane F in this scene, and Connell is really Frank, but, as in Emma and in Midsummer Night's Dream, we have lovers misgraffed, etc.”<br /><br /><br /><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: "In watching Rooney’s interviews, I don’t see Austenian irony. She’s a Marxist, which is almost by definition irony-free. I certainly don’t think she was being ironic regarding the S&M scenes. (Although this hadn’t stopped her hometown wits from referring to Normal People as “Fifty shades<br />of Sligo,” which she probably finds hilarious since the Irish, like the English, like to rag on one another.). The S&M scenes are very earnest. I do agree that she probably wanted to slam the horrible writing and production of 50 Shades. A good writer and for that matter, a good Marxist, would want to show the real life effects of destructive relationships."<br /><br />Me: “You’ve added good value on the 50 Shades point. As for her irony, I think Rooney is much much slyer than she lets on in her interviews- as with Austen, there is a layer of meaning that Rooney never reveals explicitly, she just expects the reader/viewer to read/view between the lines (or the pillars!)”<br /><br /><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><br />Mary: "If the dialogue of the movie follows the dialogue of her books, the writer is earnest in adopting a good bit of Americanized social behavior. An Irish mother and son saying “love you” every time they part for an hour or two and an Irish boy showing single-mom training in sensitivity is very Gilmore Girls and very any other 90’s- and aughts-era American TV production. What it isn’t is Irish, unless this is what they mean by post-Irish. The English speaking world has capitulated to American manners - a great thing in one sense, because we Americans are nicer and we do insist on demonstrations of niceness, a parade of niceness almost. It’s good to lose English and Irish snideness and put down behavior but what’s not good is losing Anglo-Irish sense of irony. (Austen and Wilde and Swift!) We Americans are accused of being tone deaf to irony, so perhaps I am missing a lot! I will withhold my opinion until I read her books (I have two on order), but I saw no irony in the series. Jane Austen – no. English verdure – no. Great series worth watching though!"<br /><br />Me: “I am giving this thought, but I think there is a shadow story, one that might become more visible to me when I get the book and read it!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">MY POST AFTER THINKING ABOUT OUR BRAINSTORM #1:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I have a few more thoughts about the intentionality of the <i>Emma </i>allusion in <i>Normal People</i>. Let's not forget that Rooney did give us an explicit cue to be thinking about <i>Emma</i>, when, in one of the earlier episodes, a scene at an English seminar at Trinity College (a scene which is also in the novel, as I've read about it in articles and interviews), in which Connell speaks about his being unsettled after reading the scenes when Harriet first shocks Emma with her (Harriet's) interest in Knightley, and then the narration entering Knightley's point of view as he ponders Jane and Frank's mysteries.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">So there is no question that <i>Emma</i> is a major touchstone for Rooney in this novel/series. In that context, it is simply impossible that these multiple linked allusive echoes in Episode 8 to Donwell Abbey are merely unconscious --they are intentional, and central - that scene in many ways is climactic, just as Donwell Abbey & Box Hill are climactic in Emma.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Rooney expects her Austen-aware readers to take the hints, and then do the work, by thinking about what it might mean. Rooney only gives us the subjective thoughts of characters, there is no omniscient "objective reality" narrator -- as you know, I claim that Austen has it both ways, by giving us a narrative voice that is often ambiguous as to whether it is objective or subjective. That is how an author creates a shadow story. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Also, as I said before, I think Rooney is much more interested in Jane F than in Emma. Yes, Marianne is, like Emma, an "heiress" with a single parent who is not a true emotional parent - but in most other ways Marianne reminds of Jane Fairfax - artistic, mysterious, isolative. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">And....it just occurred to me that Connell's mother is very much like Mrs. Weston – her relationship with Connell is more like two siblings than parent-child -- and recall that she tells Connell that he is her 'teenaged mistake" - who was his father? We don't know -- maybe it was a man connected to Marianne's family? After all, Mrs. Weston worked in Emma's household, just as Connell's mother works in Marianne's household.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">The more I think about it, the more I see Rooney as hiding all of these <i>Emma </i>allusions in plain sight -- daring us to wonder if these are intentional or not, and what light they might shed on the backstory and offstage action of <i>Normal People</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">And finally --- shades of JD Salinger's writing career -- Rooney actually created the characters of Connell and Marianne in a 2016 stand-alone short story called "In the Clinic", two years before she wrote <i>Normal People</i>-- In that short story, Connell takes Marianne to the clinic when she gets an infected 'wisdom tooth' removed. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I knew from the first sentence of the story that somehow it was going to relate to a concealed pregnancy, and sure enough, 2/3 of the way through the story, we read:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">"The dentist packs Marianne’s mouth with gauze and gets her to bite down. She’s feeling woozy, as though the tooth is a sick child she has given birth to. She remembers that Connell is in the waiting room and feels a tidal gratitude which drenches her in sweat..."<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I was immediately reminded of Harriet's last minute infection that keeps her from attending the Randalls party, and then of this passage in Ch. 52 of <i>Emma:</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">She had no difficulty in procuring Isabella's invitation; and she was fortunate in having a sufficient reason for asking it, without resorting to invention.—There was a tooth amiss. Harriet really wished, and had wished some time, to consult a dentist. Mrs. John Knightley was delighted to be of use; any thing of ill health was a recommendation to her—and though not so fond of a dentist as of a Mr. Wingfield, she was quite eager to have Harriet under her care.—When it was thus settled on her sister's side, Emma proposed it to her friend, and found her very persuadable.—Harriet was to go; she was invited for at least a fortnight; she was to be conveyed in Mr. Woodhouse's carriage.—It was all arranged, it was all completed, and Harriet was safe in Brunswick Square.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"> <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Who knows, maybe Rooney, when she was in college, heard about my June 2007 talk at Oxford, in which my topic was ...... <i>Emma</i>! ;)<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">BRAINSTORM #2:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “Intentional allusion or not, Marianne would be Jane Fairfax in the Italian villa scene. To push the allusion further, the Mrs Elton character is strong arming Marianne/Jane to stay with her current boyfriend, who abuses her, rather than have her true love.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “Yes, brilliant! As I said, that friend (I just checked, her name is Peggy) is very Mrs. Eltonish – and, if you recall my posts here several months ago in which I suggested that Mrs. Elton visits Donwell Abbey on her own after those two group picnics, in order to find out how hard Mr. Knightley’s “strawberries” really are (so to speak) –the counterpart in NP is that Peggy very frankly suggests a <i>menage a trois</i> amongst them, which unnerves Connell.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “Oh and Connell/Frank goes to the dance with someone else (the rich Emma-like girl) and not the woman he loves, just as Frank asks Emma for the first dance instead of the socially inferior Jane Fairfax. I suppose the whole Connell/Marianne secret relationship can be a nod to Emma.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “[See me hitting my head and going “DOH!!!] Of course that is the MOST IMPORTANT PART of the allusion, that had not even occurred to me! Bravo, Mary! You are a great brainstorming partner!<o:p></o:p></span></div>
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<i><span style="font-family: "times new roman" , serif;">Normal People</span></i><span style="font-family: "times new roman" , serif;"> is <i>Emma </i>from the point of view of Jane and Frank, and without an Emma (and also without a Knightley), but rather with aspects of Austen’s Emma distributed among the other characters!”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “<span class="im">Rooney does invite us to read <i>Emma</i>. That is the best argument that the allusions were intentional.</span> <span class="im">Good comparison with miss Taylor/Mrs Weston to Connell’s mother.”<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “Well, I think it’s all of it together. The explicit allusion is there for those who need permission to go mucking around in NP’s subtext, but the real interpretive payoff is what is left implicit.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “As for your last comments about shadow story pregnancies, I don’t doubt that Rooney would be receptive. I’ve read and watched several interviews with Rooney. Abortion and contraceptive rights are at the forefront of her mind. She cites the date when she was born and the fact that on that date, pharmacies in Ireland were still prosecuted for illegal sales of condoms. In many ways, the Ireland she grew up in was more like Jane Austen’s time than it was modern day Europe or America. (One of the reasons Austen’s books are so popular in socially conservative countries like India and Pakistan. They really get Austen).”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “YES YES YES! It does fit perfectly, and now I really do wonder whether my speaking twice in England (in 2007 and 2009) about Jane Fairfax’s concealed pregnancy eventually caught her attention. Thank you so much for that info, it does give even deeper meaning to the allusion.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “I am happy if any of these allusions to Austen turn out to be intentional. Rooney is highly popular. If her agenda is to promote Austen, good on her”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “Indeed!!!”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">BRAINSTORM #3:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “Thanks, Arnie. Great to share ideas and great to have a reason to re-watch <i>Normal People</i>. (If Peggy is indeed Mrs. E, then we can savor the “F Off, Peggy” moment) which neither Jane nor Frank would be allowed to say in Regency England.)<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “You’re welcome, Mary! Our brainstorming the past couple of days is a good illustration, I think, of why Austen’s (and now, we see, also Rooney’s) fiction is ideal grist for the mill of discussion – it took just the two of us two days to reach a central insight (yours) which confirmed my initial insight, i.e, that the concealed relationship of Jane and Frank in <i>Emma</i>, which is central to the arc of the story, is mirrored in the concealed relationship of Marianne and Connell, which is also central to the arc of the story of <i>Normal People.<o:p></o:p></i></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 11pt;">And I am sure we’re not done quite yet!</span></div>
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<span style="font-family: "times new roman" , serif;">Me: “An hour ago, I wrote the words “And I am sure we’re not done quite yet!” not having anything specific in mind to add to Mary’s and my brainstorming on the idea of Marianne and Connell in <i>Normal People</i> as early 21st century versions of the early 19<sup>th</sup> century secret lovers Jane and Frank in <i>Emma</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">However, as I took a brisk walk in my lovely Portland (OR) neighborhood on this mild sunny Spring day, I decided to unleash my inner imaginist again, and meditate on other ways that Rooney’s lovers might be modeled on Austen’s. In hindsight, I think I already had a subconscious notion in that regard, which required locomotion to bring it bubbling up to my conscious awareness, as you will see.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">As I thought about the concealed romances which go on for most of the arc of the storyline in both Austen and Rooney, I realized that the echo was even more multilayered – in both cases, it’s also not merely that the romance is concealed from others in their social circle, but that the concealment enables the male of the two to shamelessly continue to enjoy social popularity, even as the female continues to live in the shadows – and, indeed, to go so far as to physically isolate herself from the crowd for an extended time, to get away from unfriendly eyes.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">But she doesn’t only live in the social shadows, she is also the target of mockery which occurs right in front of the male. So, just as Frank joins in with Emma’s unpleasant gossipy speculations about who might be Jane’s secret Valentine gift-giver, and Jane must bite her lip and stay silent, Connell fails to stand up for Marianne.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">He is silent even as he hears her dissed repeatedly in his own presence by all the mean kids, who all also seem to be jealous of her talents. And then, to cap this humiliating pattern, he goes to the prom with the “Emma” of their circle, the well-to-do, popular, pretty fair-haired Hannah (with whom he has been intimately involved, and is still enmeshed), just as Frank goes to the Crown Inn ball with the well-to-do, popular, pretty fair-haired Emma.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">So, is it a little in-joke when Rooney has Marianne, in the Italy scene, compliment Connell for his writing in his recent emails to her? Are we thereby meant to recall the praise heaped on Frank at several points in <i>Emma </i>for his letters? I think so!”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: “Researching a little more re: Rooney vs. Austen, I found this:<br /><br />“Actually, something that I read just after I had finished writing the book [<i>Conversations with Friends</i>] was <i>Emma</i>. Obviously I can’t compare myself to Jane Austen [laughs], but, for me there were odd echoes there. Emma is twenty-o ne like Frances is twenty-one, they both have an extreme attachment to an older man, they both have an ailing father in the background, they both have a very intense friendship with a younger woman. So, these social structures, I don’t think are necessarily completely unique to the generation I am part of, and part of observing.” Full interview is as follows: <a href="https://www.thosepreciousstolenmoments.com/single-post/2018/01/30/Sally-Rooney-Interview%20w" style="color: purple;">https://www.thosepreciousstolenmoments.com/single-post/2018/01/30/Sally-Rooney-Interview w</a><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><br />Although she contends she read Emma after writing CWF, and that CWF “has echoes” of Emma, her subsequent writing of Normal People would have been with a conscious thought to Emma."<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Me: “I half-agree with you --yes, NP is, as we've been discussing, extensively related to Emma - but i think Rooney is being disingenuous when she claims not to have read <i>Emma</i> before writing NP -- she reminds me of Charlotte Bronte, who wrote pretty much the exact same thing to Henry Lewes, even though <i>Jane Eyre</i> clearly derives much inspiration from <i>Emma,</i> in addition to all of Austen's other novels! And I think Rooney is aware of that literary historical factoid too! <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Mary: "She brings up<i> Emma</i> in the interview; she brings up <i>Emma</i> in the college scene in Normal People. She wants us to think of <i>Emma</i>. So, I am sliding over to your side of things and see <i>Emma</i> a conscious intermingling of themes in <i>Normal People</i>."<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I'm glad, and I look forward to your reply to my latest message further excavating the allusion to <i>Emma</i> in NP.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><br />Mary: "So many reviews mention the “confidence” of Rooney’s writings, especially in so young a person (nod to Lady Catherine De Bourgh*). I would say she has quite the confidence to mention Jane Austen while disclaiming any comparison to herself!<br />*”Upon my word,” said her ladyship, “you give your opinion very decidedly for so young a person.” "<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Yep, Rooney has that cocky but justified confidence, a swagger that she has 100% earned. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-20400685527620604702020-05-24T16:56:00.001-04:002020-05-26T12:29:20.765-04:00Sally Rooney's Normal People (Episode 8) winks broadly at Jane Austen's Emma (Donwell Abbey episode)<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<span style="font-family: "times new roman" , serif;">My wife and I have watched 3/4 of <i>Normal People</i>,<i> </i>the new </span><span style="font-family: "times new roman" , serif;">miniseries on Hulu, and will watch the rest by the end of this weekend. We have found it to live up to all the buzz, and then some – it is remarkable and, indeed, Austenesque, in its understated subtle power.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I posted a few years ago about Sally Rooney when I first heard about her, particularly the oft-repeated suggestion that she was a 21st century Jane Austen, in her very small scale focus on complicated romantic relationships which includes crucial family and socioeconomic context. Her characters instantly come alive through their dialog.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Rooney and a collaborator have now adapted her novel for TV, and it is brilliantly realized, and makes for compelling watching. There is a fair amount of sex, which some have objected to, but I think it is clearly the opposite of exploitative – all the sex is all tastefully portrayed with great feminism-informed sensitivity. Sex and love are inextricably interwoven in this story, as it is in in real life.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">There is an explicit mention of a scene in <i>Emma</i>, which comes up during a discussion in a college English seminar. But also, I see a very sly wink to the hardcore Janeite, in another scene --without any spoilers, there is an evocation, which fits very well with the arc of the storyline, of the following passage in the Donwell Abbey scene in Emma:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">“The whole party were assembled, excepting Frank Churchill, who was expected every moment from Richmond; and <i><b><span style="color: red;">Mrs. Elton, in all her apparatus of happiness, her large bonnet and her basket, was very ready to lead the way in gathering, accepting, or talking—strawberries, and only strawberries, could now be thought or spoken of.</span></b></i>—“The best fruit in England—every body's favourite—always wholesome.—These the finest beds and finest sorts.—Delightful to gather for one's self—the only way of really enjoying them.—Morning decidedly the best time—never tired—every sort good—hautboy infinitely superior—no comparison—the others hardly eatable—hautboys very scarce—Chili preferred—white wood finest flavour of all—price of strawberries in London—abundance about Bristol—Maple Grove—cultivation—beds when to be renewed—gardeners thinking exactly different—no general rule—gardeners never to be put out of their way—delicious fruit—only too rich to be eaten much of—inferior to cherries—currants more refreshing—only objection to gathering strawberries the stooping—glaring sun—tired to death—could bear it no longer—must go and sit in the shade.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">...It was hot; and after walking some time over the gardens in a scattered, dispersed way, scarcely any three together, they insensibly followed one another to the delicious shade of a broad short avenue of limes, which stretching beyond the garden at an equal distance from the river, seemed the finish of the pleasure grounds.—<i><b><span style="color: red;">It led to nothing; nothing but a view at the end over a low stone wall with high pillars, which seemed intended, in their erection, to give the appearance of an approach to the house, which never had been there. Disputable, however, as might be the taste of such a termination, it was in itself a charming walk, and the view which closed it extremely pretty.</span></b></i>—The considerable slope, at nearly the foot of which the Abbey stood, gradually acquired a steeper form beyond its grounds; and at half a mile distant was a bank of considerable abruptness and grandeur, well clothed with wood;—and at the bottom of this bank, favourably placed and sheltered, rose the Abbey Mill Farm, with meadows in front, and the river making a close and handsome curve around it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">It was a sweet view—sweet to the eye and the mind. English verdure, English culture, English comfort, seen under a sun bright, without being oppressive.” “<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 11pt;">Here is a screenshot of that moment in <i>Normal People</i>, at the very beginning of Episode 8, do you see the object which is mentioned in the above passge in Emma? </span><br />
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<span style="font-family: "times new roman" , serif; font-size: 11pt;">When you see Episode 8, think about how the rest of that Episode relates to the Donwell Abbey episode in <i>Emma</i>:</span><br />
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<span style="font-family: "times new roman" , serif;">Otherwise, I have the sense that another, perhaps improbable touchstone for <i>Normal Peopl</i>e is the recent sexploitation series of <i>Fifty Shades of Grey</i> novels and films. But unlike Rooney’s clearly great admiration for Austen, I think Rooney decided to, in effect, satirize <i>Fifty Shades of Grey</i> through an Austenian lens, and replace E.L. James’s absurd, unrealistic, poorly acted, and poorly written characters with compelling characters closely observed. Rooney’s sex scenes are among the most powerful scenes in the miniseries, because of the way the characterizations are convincingly furthered in them, not in any way for purposes of titillation.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">So, don’t miss the <i>Normal People</i> miniseries; and I have already placed an order for the novel, so I can read it, too – I bet you will also want to do so!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-55472163808695244472020-05-05T02:06:00.003-04:002020-05-05T02:06:38.466-04:00A Triple Literary Quiz <div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;">I’m thinking of an author who produced:</span></div>
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<span style="font-family: "Times New Roman", serif;">ONE: A writing in which riddles and the number “3” are both given special, interrelated prominence in several ways;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">TWO: A writing in which false modesty (i.e., an indirect boast) is expressed in specific regard to the speed of writing;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">THREE: A writing addressed to the leader of the writer’s country (or to that leader’s literary representative) in which the writer claims to have modest, small-scale writing skills and ambitions, and to be writing as a duty and tribute to that national leader.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">So, what author am I thinking of, and what works of literature?</span></div>
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<span style="font-family: "Times New Roman", serif;">As usual with my quizzes, beware of the “obvious answer”. Why? Because one answer may be “obvious” to one group of readers, but a different answer will be “obvious” to another group of readers. And I don’t believe there is much overlap between the two groups I’m referring to in this instance ……although, as the answer to this quiz suggests, there ought to be!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Also as usual, I will provide the answer(s) within two days.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Happy literary hunting!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">ARNIE<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-83909107990878280912020-04-23T23:49:00.004-04:002020-04-23T23:49:52.909-04:00The Extraordinary Debate over The Depth, Breadth, and Height of Jane Austen’s Literary Soul<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;">Four months ago, we had a thread in the Janeites group about Devoney Looser’s exciting discovery of an April Fools Day, 1823 mock letter about Jane Austen and her writing. Devoney claimed that such letter, written under the pseudonym “Jane Fisher”, had actually been written by Mary Russell Mitford.</span></div>
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<span style="font-family: "Times New Roman", serif;">I supported her claim with some further analysis of that letter in the following two blog posts:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;"><a href="https://sharpelvessociety.blogspot.com/2019/12/a-proposed-extension-of-devoney-loosers.html" style="color: purple;">https://sharpelvessociety.blogspot.com/2019/12/a-proposed-extension-of-devoney-loosers.html</a><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;"><a href="https://sharpelvessociety.blogspot.com/2019/12/happy-birthday-jane-austen-244th-mary.html" style="color: purple;">https://sharpelvessociety.blogspot.com/2019/12/happy-birthday-jane-austen-244th-mary.html</a><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">My conclusions included the following: <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“In a nutshell, Mitford sees “ghosts” of <i>Persuasion</i>’s heroine, Anne, and her eventual sister in law, Mrs. Croft, when Mitford walks the streets of Bath! And I, in turn, now find myself strangely haunted by the realization that Mary Russell Mitford was a much sharper elf than I ever dreamt of.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">That’s relevant background to my topic today, which is my reading the very interesting section in Katie Halsey’s <i>Jane Austen and her Readers, 1786 to 1945</i> (2013), which begins as follows:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Between July 1841 and June 1845, Mary Russell Mitford and Elizabeth Barrett Browning engaged in a long-running affectionate epistolary argument about Jane Austen…In the correspondence, both women demonstrate clearly their own allegiances through their manoeuvrings with Austen’s name. They are both, more generally, oppositional readers who choose to define themselves against cultural stereotypes of the ‘bad’ female reader; in this series of letters, they also come to define their literary selves through their opposition to each other.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">In the course of their discussion we can trace two different visions of what a novel should be: Mitford’s, whose model is Jane Austen, and whose belief is that accurate pictures of conventional life may contain within them the truths of the human heart, and Barrett Browning’s, for whom ‘Conventional Life is not the Inward Life’. The clash is, in broad terms, between the novel of manners and the novel of psychological life, and between a pre-Romantic and post-Romantic literary sensibility.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">While Mitford passionately admires Austen, and considers her novels models of great literature, Barrett Browning objects to Austen on the grounds of lack of ‘poetry’, ‘inner life’ or ‘ideal aspiration’. When discussing Jane Austen, Charlotte Brontë poses the question ‘[can] there be a great artist without poetry?’, and finds Austen ‘without “sentiment,” without poetry’, concluding that she therefore ‘cannot be great’. Both Brontë’s and Barrett Browning’s rhetoric is strongly reminiscent of P. B. Shelley’s Defence of Poetry, in which ‘to be a poet is to apprehend the true and the beautiful, in a word the good which exists in the relation, subsisting, first between existence and perception, and secondly between perception and expression’.” END QUOTE FROM HALSEY<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">That was all news to me, and of great interest, particularly because of the afore-described recent uptick in my respect for Mary Russell Mitford as perhaps the most perceptive of early Janeites. I came upon Halsey’s discussion of that 180-years-past literary debate over Austen, as I was reading Elizabeth Barrett Browning’s <i>Sonnets from the Portuguese</i> for the first time. I wondered: do we have any idea what Barrett Browning thought of Austen’s fiction? Halsey’s book was my first Google result, and I found myself with a full answer to that question, as I’ll outline below.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">For those with access via their library system to the Ebooks portal, you can read that entire section in Halsey’s book there. For purposes of this post, I will just provide one representative quote from that 5 year correspondence between Mitford and Barrett Browning that stood out most for me:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Barrett Browning: ‘There is more poetry, more of the inner life, more of the ideal aspiration more of a Godward tendency in [an 1842 novel by a now forgotten author] than we need seek for or than even you my beloved friend, can, I think, imagine in any book or books of Miss Austen considered in a moment of your most enthusiastic estimation.‘<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Ouch! At least with Charlotte Bronte, who wrote similar sentiments to Henry Lewes several years after that, I have long had the comfort of believing, along with Jocelyn Harris and others, that Bronte was just pulling Lewes’s leg, because <i>Jane Eyre</i> in particular is saturated with all of Austen’s fiction from one end to the other. But I don’t get the sense from Halsey’s chapter that Barrett Browning was kidding, she was deadly serious, and really meant it when she bemoaned Austen’s (to her at least) soul-deficiency.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Part of what makes me believe this Barrett Browning wasn’t kidding when she expressed those negative judgments on Austen to Mitford, is what BB wrote when she revisited the subject of Jane Austen’s literary soulfulness more than a decade later. Note the subtle difference ten+ years made, as quoted and then explained by Halsey:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Barrett Browning stuck tenaciously to her opinion of Austen, writing in 1855 to John Ruskin that her argument with Mitford had not caused her to admire Austen’s works:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">‘She [Mitford] never taught me anything but a very limited admiration of Miss Austen, whose people struck me as wanting souls, even more than is necessary for men and women of the world. The novels are perfect as far as they go – that’s certain. Only they don’t go far, I think. It may be my fault.’<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Although this extract reiterates some of the points she made to Mitford (lack of soul, focus on the conventional life, the novels’ perfection in their sphere and Austen’s limitation of aspiration), there is a note of hesitancy (‘I think’), even apology (‘it may be my fault’). She here dismisses the effects of her correspondence with Mitford, but it seems that Barrett Browning’s confidence in her opinion has been paradoxically both shaken and strengthened by Mitford’s opposition. “ END QUOTE FROM HALSEY<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">While I agree with Halsey that Barrett Browning’s hesitancies are good evidence that Mitford’s arguments had to some extent undermined BB’s certainty about Austen’s deficiencies, I’d also speculate that it was also the quiet subversion wrought on BB by Austen’s fiction itself, perhaps upon later rereadings. Austen, like Milton’s Satan, knew how to worm her way into her reader’s subconscious, relying on repeated rereadings to work their magic over time.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">In other words, in spite of herself, Barrrett Browning seemed to have learned, perhaps by 1850 when she published her famous Sonnet 43, that she loved Austen’s fiction in more ways than she could count, or even consciously grasp --- and maybe, just maybe, Barrett Browning came to question whether she did not love Austen better, because the depth and breadth and height of her <i>own</i> soul was not sufficient to love Austen’s deeper, broader, and higher soul, and not the reverse!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Wouldn’t it be something, in other words, if, at least in part, Sonnet 43 was inspired by Barrett Browning’s growing doubts about her own love of Jane Austen’s fiction? ;)<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com1tag:blogger.com,1999:blog-1436417288060370638.post-65184433808210316142020-04-16T17:19:00.002-04:002020-04-16T17:33:28.015-04:00Trump & Co's Immodest (barbaric) Proposal to Rid our Country of "useless eaters"<div style="background-color: white; color: #1d2129; font-family: "Fix for Mac Chrome 80", system-ui, -apple-system, system-ui, ".SFNSText-Regular", sans-serif; font-size: 14px; margin-bottom: 6px;">
Today, literature touches real life again. My brilliant old friend Chris has just chillingly summed up one particularly horrific aspect of our general nightmare:</div>
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CHRIS: </div>
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"So it has come to this. Earlier this month, the Lt Gov of Texas declared the country’s elderly—all 46 million citizens over 65–should be willing to sacrifice themselves for the good of “the economy.” A few days ago Fox put on a panel to promote this idea. It included Bill O’Reilly, who said the elderly who have died so far of Covid 19 “were on their last legs anyway.” And now a GOP Indiana congressman just told CNN that the government’s obligation is to choose the “American way of life” over the lives of senior citizens.</div>
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Think about this very, very carefully. Before the Nazis arrived at their “Final Solution,” they first had to promote a culture of devaluing human life. They started with the infirm, the mentally ill, and the socially marginalized—the vulnerable and “non-productive” parts of the economy. Eventually, when Jews were herded to the camps, the first thing the SS did was separate the elderly for immediate gassing. They were deemed “useless eaters.”</div>
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This is the gate to the horrors of hell. If such notions are not ruthlessly exposed and destroyed now, think about who will be next to die for the good of “the economy.” Immigrants, inmates, the disabled, diabetics who cost “too much” to treat, the homeless, the mentally ill, addicts, and so it goes.</div>
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We already have in place the “ethic” that if you lose your job, you lose your health care. Those discarded by “the economy” at this hour become even more vulnerable. And as far as “the economy” is concerned, according to Fox and the GOP, the vulnerable are expendable; they become a net drag on “the economy.” They become useless eaters." </div>
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END QUOTE </div>
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To which I can only add these helpful suggestion for catchy Republican slogans to match Trump & Co's "Immodest Proposal":</div>
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Lower Medicare age to 60? No! Lower the age of Death? Yes!</div>
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250 years ago, even Jonathan Swift could not have foreseen a level of casual barbarism like this - and he satirized the calculated oppression of starving Ireland by their British "friends"!<br />
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And since my friend Chris wrote the above, and I made the association to Swift's Modest Proposal, real life became even more surreal when I watched this video segment of Dr. Oz on Fox News referring to a very "appetizing opportunity" for reopening the economy that only results in a few percent additional mortality:<br />
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<a href="https://www.vox.com/2020/4/16/21223892/dr-oz-hannity-coronavirus-schools-reopening">https://www.vox.com/2020/4/16/21223892/dr-oz-hannity-coronavirus-schools-reopening</a><br />
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Cheers, ARNIE</div>
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Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-10892838747623699922020-03-29T21:28:00.002-04:002020-03-29T21:28:26.668-04:00The Answers to My Quiz with a “Twist”: Austen meets Aristophanes!<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<i style="font-size: 11pt;"><span style="font-family: "Times New Roman", serif;">I’m thinking of a great work of literature that meets ALL of the following criteria:</span></i></div>
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<i><span style="font-family: "Times New Roman", serif;">ONE: It was written long ago by an author whose name is known to countless people, including many who’ve never read their works:</span></i><span style="font-family: "Times New Roman", serif;"> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;"> JANE AUSTEN & ARISTOPHANES<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;"> </span><i style="font-size: 11pt;"><span style="font-family: "Times New Roman", serif;">TWO: It was one of this author’s earliest works, but one that they significantly revised later in their career:</span></i><span style="font-family: "Times New Roman", serif; font-size: 11pt;"> </span></div>
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<span style="font-family: "Times New Roman", serif;">Both <i>NORTHANGER ABBEY</i> and <i>THE CLOUDS</i> were youthful works later revised.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">My central claim is that when Jane Austen revised <i>Northanger Abbey </i>in 1816, she was not only aware of the great early Greek comic playwright, Aristophanes, but that she made <i>The Clouds</i> a central allusive source for her novel about a naïve heroine who achieves self-knowledge.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Today, I will just give summary answers to the clues I listed in my Quiz. In followup posts to come, I will go into greater detail on some key points, all fleshing out the surprising news (to many, but not to me) that Austen’s knowledges of the ancient classics was very deep and granular, indeed.<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">THREE: Among the general public, it is NOT the most famous of that author’s works:<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">Her most famous novel is <i>PRIDE & PREJUDICE</i>. His most famous play is <i>LYSISTRATA</i><o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">FOUR: It focuses on the theme of self-knowledge, and how one can help another person find it.<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">Henry Tilney says to Catherine Morland:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Such feelings ought to be investigated, that they may know themselves”. This statement epitomizes Henry’s teasing manner of speaking to Catherine, and virtually repeats Socrates’s most famous maxim that a life well lived has the goal of self-knowledge. But the key point is that Austen had both Plato’s Socrates <i>and</i> Aristophanes’s Socrates in mind as she wrote <i>Northanger Abbey</i>, and wove both of them into the character of her charming hero.<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">FIVE: It has a major male character who:<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman", serif;">is a braggart of mammoth proportions;<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman", serif;">who constantly lies;<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman", serif;">contradicts himself in every other sentence he speaks;<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman", serif;">who is particularly obsessed with racing his horses and chariots/carriages; and<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman", serif;">who repeatedly uses the expression “By Jove!”<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">John Thorpe in <i>Northanger Abbey</i> and Strepsiades’s son, Pheidippides, in <i>The Clouds </i>both fit every one of these specific points to a tee, far past the possibility for coincidence. Compare these two passages:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">1853 Translation of <i>The Clouds </i>by William James Hickie:<b><i><o:p></o:p></i></b></span></div>
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<span style="font-family: "Times New Roman", serif;">[<i>STREPSIADES to SOCRATES, seeking to receive education at the latter’s school in the art of lying, so as to be able to go to court and get out of all his debts that his son’s horse obsession got him into</i>]:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;"> “I will do so in reliance upon you, for NECESSITY oppresses me, on account of the blood-horses<b>,</b> and the marriage that ruined me. Now, therefore, let them use me as they please. I give up this body to them to be beaten, to be hungered, to be troubled with thirst, to be squalid, to shiver with cold, to flay into a leathern bottle, if I shall escape clear from my debts, and appear to men to be BOLD, glib of tongue, audacious, IMPUDENT, shameless, a fabricator of FALSEHOODS, INVENTIVE of words, a practiced knave in lawsuits, a law-tablet, a thorough RATTLE, a FOX, a sharper, a slippery knave, a dissembler, a slippery fellow, an impostor, a gallows-bird, a blackguard, a TWISTER, a troublesome fellow, a licker-up of hashes. If they call me this, when they meet me, let them do to me absolutely what they please. And if they like, by Ceres, let them serve up a sausage out of me to the deep thinkers….”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">And now look at the strong parallelism to the above speech in Catherine Morland’s reaction to John Thorpe’s endless lying and boasting:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Catherine listened with astonishment; <i>she knew not how to reconcile two such very different accounts of the same thing; for she had not been brought up to understand the propensities of a RATTLE, nor to know to how many IDLE assertions and IMPUDENT FALSEHOODS the excess of vanity will lead.</i> Her own family were plain, matter-of-fact people who seldom aimed at wit of any kind; her father, at the utmost, <i>being contented with a pun, and her mother with a proverb</i>; they were not in the habit therefore of <i>telling lies to increase their importance, or of asserting at one moment what they would contradict the next…”<o:p></o:p></i></span></div>
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<span style="font-family: "Times New Roman", serif;">And the above parallels are why I give “credit” to Donald Trump for unwittingly helping me discover these parallels between Aristophanes and Jane Austen, both of whom obviously knew, and knew of, men in their worlds, 2200 years apart, who were just like him.<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">SIX: It has a major male character who repeatedly, teasingly asks questions which seem to be designed to provoke his conversation partner to think outside the box, to question basic assumptions, and to seek self knowledge.<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">Henry Tilney, to Catherine Morland Socrates, to Strepsiades<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">SEVEN: It has a short scene in which clouds are observed and interpreted as meaning or signifying different things.<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">In <i>The Clouds</i> (this scene was also clearly a source for Hamlet’s riddling of poor addled Polonius), Socrates teaches Strepsiades that we see what we want to see, and not necessarily what is there:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Socrates. Answer, then, whatever I ask you.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Strepsiades. Then say quickly what you wish.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Socrates. <i>Have you ever, when you; looked up, seen a cloud like to a centaur, or a panther, or a wolf, or a bull?<o:p></o:p></i></span></div>
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<span style="font-family: "Times New Roman", serif;">Strepsiades. By Jupiter, have I! But what of that?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Socrates. <i>They become all things, whatever they please</i>. And then if they see a person with long hair, a wild one of these hairy fellows, like the son of Xenophantes, in derision of his folly, they liken themselves to centaurs.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Strepsiades. Why, what, if they should see Simon, a plunderer of the public property, what do they do?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Socrates. <i>They suddenly become wolves</i>, showing up his disposition.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Strepsiades. For this reason, then, for this reason, when they yesterday saw Cleonymus the recreant, on this account <i>they became stags</i>, because they saw this most cowardly fellow.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Socrates. And now too, because they saw Clisthenes, you observe, <i>on this account they became women</i>.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Strep. Hail therefore, O mistresses! And now, if ever ye did to any other, to me also utter a voice reaching to heaven, O all-powerful queens.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Then they go on to discuss the relationship between clouds and rain.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Austen, the mistress of ironic deflation, clearly had this scene in mind when she wrote about Catherine’s anxious imaginings about rain interfering with her planned outing with the Tilneys, in Chapter 11 of <i>Northanger Abbey:<o:p></o:p></i></span></div>
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<span style="font-family: "Times New Roman", serif;">“The morrow brought a very sober-looking morning, the sun making only a few efforts to appear, and Catherine augured from it everything most favourable to her wishes. A bright morning so early in the year, she allowed, would generally turn to rain, <i>but a CLOUDY one foretold improvement as the day advanced<b>.</b></i> She applied to Mr. Allen for confirmation of her hopes, but Mr. Allen, not having his own skies and barometer about him, declined giving any absolute promise of sunshine. She applied to Mrs. Allen, and Mrs. Allen's opinion was more positive. “She had no doubt in the world of its being a very fine day, <i>if the CLOUDS would only go off</i>, and the sun keep out.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">…. At half past twelve, when Catherine's anxious attention to the weather was over and she could no longer claim any merit from its amendment, the sky began voluntarily to clear. A gleam of sunshine took her quite by surprise; she looked round; <i>the CLOUDS were parting<b>,</b></i> and she instantly returned to the window to watch over and encourage the happy appearance. Ten minutes more made it certain that a bright afternoon would succeed, and justified the opinion of Mrs. Allen, who had “always thought it would clear up.” But whether Catherine might still expect her friends, whether there had not been too much rain for Miss Tilney to venture, must yet be a question.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">BONUS PARALLEL:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">And to add to all of the above I add a final “twist”, hinted at in that last word of my Subject Line. It is no accident that (1) Strepsiades meant “twister”, as in twister of words, i.e., liar, in ancient Greek, and (2) we read the following in <i>Northanger Abbey</i>, as Catherine Morland suffers through her final conversation with John Thorpe in Chapter 15<i>:<o:p></o:p></i></span></div>
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<span style="font-family: "Times New Roman", serif;">“Shall not you be late at Devizes?” said Catherine. He made no answer; but after a minute's silence burst out with, “A famous good thing this marrying scheme, upon my soul! A clever fancy of Morland's and Belle's. What do you think of it, Miss Morland? I say it is no bad notion.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“I am sure I think it a very good one.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Do you? That's honest, by heavens! I am glad you are no enemy to matrimony, however. Did you ever hear the old song 'Going to One Wedding Brings on Another?' I say, you will come to Belle's wedding, I hope.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Yes; I have promised your sister to be with her, if possible.”<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">“And then you know”—TWISTING himself about and forcing a foolish laugh—“I say, then you know, we may try the truth of this same old song.”<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">“May we? But I never sing. Well, I wish you a good journey. I dine with Miss Tilney today, and must now be going home.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Twisting himself indeed – It is Jane Austen who has the last laugh on the fools of the world!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-34189443852987866172020-03-28T15:47:00.002-04:002020-03-28T15:47:22.970-04:00Another literary quiz with a twist<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
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<span style="font-family: "Times New Roman", serif; font-size: 11pt;">I’m thinking of a great work of literature that meets ALL of the following criteria:</span></div>
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<span style="font-family: "Times New Roman", serif;">It was written long ago by an author whose name is known to countless people, including many who’ve never read their works.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">It was one of this author’s earliest works, but one that they significantly revised later in their career.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Among the general public, it is NOT the most famous of that author’s works.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">It focuses on the theme of self-knowledge, and how one can help another person find it.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">So far, those criteria are probably met by at least several works of literature. Now I narrow things down considerably:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">It has a major male character who:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">is a braggart of mammoth proportions;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">who constantly lies;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">contradicts himself in every other sentence he speaks;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">who is particularly obsessed with racing his horses and chariots/carriages; and<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">who repeatedly uses the expression “By Jove!”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">It has a major male character who repeatedly, teasingly asks questions which seem to be designed to provoke his conversation partner to think outside the box, to question basic assumptions, and to seek self knowledge.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">It has a short scene in which clouds are observed and interpreted as meaning or signifying different things.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">As you know from prior quizzes of mine, there may be one answer that appears obvious to you – but don’t stop, because I assure you that there are others reading this quiz who think that a different work than the one that came to your mind is the “obvious” answer!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Let me know (at arnieperlstein@gmail..com) if you come up with either or both answers, and then I will reveal both works, and how each of the above clues fit each of those works, by tomorrow (Sunday) evening PST.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-2263362670457618602020-03-26T23:32:00.000-04:002020-03-26T23:32:41.681-04:00The many idle assertions and impudent falsehoods the excess of vanity will lead to: Then and Now<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;">Did you ever think about the unwitting ironic "tell" of Trump constantly using the words "incredible" and "unbelievable" when he's telling his biggest lies???</span></div>
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<span style="font-family: "Times New Roman", serif;">The following remarkable video by talented young mimic J.L. Cauvin captures, better than any other I have seen, exactly how Trump weaponizes abuse of language, in particular relying on repetition of those telltale, cringeworthy words: <a href="https://www.youtube.com/watch?v=sbPQCJtnT6o" style="color: purple;">https://www.youtube.com/watch?v=sbPQCJtnT6o</a> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">In this particular installment of Cauvin’s weekly podcast @TrumpPod, he savagely skewers Trump’s hypocritical, unholy mutual embrace with Far Right religious bigots. And so, henceforth, whenever Trump invades the TV screen with another installment of his cruel Covid 19 circus, I will, for instant relief, listen to other episodes of Cauvin-as-Trump.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Watching that parody also reminded me that Trump speaks like a fool or villain, or both, from a Jane Austen novel. I recalled that in October 2016, less than a month before I and most of the civilized world was shocked by the election results, I wrote a blog post I entitled “Jane in Trumpland”. My premise was that the rise of Trump had been presciently foreseen just over two centuries ago by Jane Austen, in the characters of General Tilney and John Thorpe, in <i>Northanger Abbey</i>:<i></i><o:p></o:p></span></div>
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<u><span style="color: blue; font-family: "Times New Roman", serif;"><a href="https://sharpelvessociety.blogspot.com/2016/10/jane-in-trumpland-general-tilney-john.html" style="color: purple;">https://sharpelvessociety.blogspot.com/2016/10/jane-in-trumpland-general-tilney-john.html</a></span></u><span style="font-family: "Times New Roman", serif;"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">As I reflect back with 20:20 hindsight on that 2016 post (which I invite you to read in full), written by me in the naïve belief that Trump would surely lose, I am not surprised that it was a literary satirist, rather than a political scientist or historian, who was a lonely Cassandra warning us all of Trump’s likely ascent to power – I am talking about one of the greatest modern satirists, Michael Moore. From <i>Roger and Me </i>to <i>Fahrenheit 11/</i>9, Moore has, like forerunners like Austen, Twain, and Swift, effectively deployed absurdity to make a satirical point about contemporary politics. So perhaps there is something in achieving mastery of satire in language that attunes one’s ear to hear when a demagogue and con man twists language for evil ends?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">3 ½ years ago, when Trump had already to some extent done a hostile takeover of public media, I went into great detail as to a half dozen ways in which I saw Trump’s multifariously evil character in passages describing General Tilney, in the following categories:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">ONE: An older man with an eye for young women;<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">TWO: A man with lots of money, who provides employment and a high standard of living to a son:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">THREE: A man with lots of money who loves showing off his YUUUGE estate to young women:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">FOUR: A lecherous older man with a dangerous interest in visiting, unannounced and uninvited, the bedroom of his young female houseguest in the middle of the night: <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">FIVE: A late night devotee of paranoid right wing conspiracy theories about the "dangerous" "unpatriotic" countrymen who don't agree with his politics: <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">SIX: A husband who did not treat his wife well: <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Eerie, isn’t it, how many of those boxes are ticked off by Trump –most relevant to my point today, instead of writing midnight letters by candlelight like the anti-Jacobin General, Trump Tweets by the light of his IPhone.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">After spending most of that earlier post on the General Tilney in Trump, I gave short shrift to the John Thorpe:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“And I see the other half of Trump in John Thorpe, a man who boasts about his carriages and horses as if it would impress a young woman of taste and intelligence; a xenophobe, misogynist, anti-semite; and a sexual predator who thinks nothing of falsely imprisoning a young woman in a small space from which she cannot escape. Most Janeites can readily recall the passages in NA which illustrate each of these repellant characteristics of John Thorpe.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Well, today I am back to remedy that gap, and present to you the particular passage in Chapter 9 of <i>Northanger Abbey</i>, in which, I suggest, Jane Austen predicted, with chilling accuracy, the type of abuse of language that Trump has forced on the rest of us a thousand times during his lethal Reign of Error. Be prepared for chills of recognition, as our heroine Catherine Morland is forced to listen to John Thorpe rant on and on:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“Catherine listened with astonishment; <i>she knew not how to reconcile two such very different accounts of the same thing; for she had not been brought up to understand the propensities of a rattle, nor to know to how many idle assertions and impudent falsehoods the excess of vanity will lead.</i> Her own family were plain, matter-of-fact people who seldom aimed at wit of any kind; her father, at the utmost, being contented with a pun, and her mother with a proverb; they were not in the habit therefore of telling lies to increase their importance, or of asserting at one moment what they would contradict the next.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">She reflected on the affair for some time in much perplexity, and was <i>more than once on the point of requesting from Mr. Thorpe a clearer insight into his real opinion on the subject; but she checked herself, because it appeared to her that he did not excel in giving those clearer insights, in making those things plain which he had before made ambiguous</i>; and, joining to this, the consideration that he would not really suffer his sister and his friend to be exposed to a danger from which he might easily preserve them, she concluded at last that he must know the carriage to be in fact perfectly safe, and therefore would alarm herself no longer.<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">By him the whole matter seemed entirely forgotten; and all the rest of his conversation, or rather talk, began and ended with himself and his own concerns. He told her of horses which he had bought for a trifle and sold for INCREDIBLE sums; of racing matches, in which his judgment had infallibly foretold the winner; of shooting parties, in which he had killed more birds (though without having one good shot) than all his companions together; and described to her some famous day's sport, with the fox-hounds, in which his foresight and skill in directing the dogs had repaired the mistakes of the most experienced huntsman, and in which the boldness of his riding, though it had never endangered his own life for a moment, had been constantly leading others into difficulties, which he calmly concluded had broken the necks of many.<o:p></o:p></span></i></div>
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<span style="font-family: "Times New Roman", serif;">Little as Catherine was in the habit of judging for herself, and unfixed as were her general notions of what men ought to be, <i>she could not entirely repress a doubt, while she bore with the effusions of his endless conceit, of his being altogether completely agreeable</i>. It was a bold surmise, for he was Isabella's brother; and she had been assured by James that his manners would recommend him to all her sex; but in spite of this, the extreme weariness of his company, which crept over her before they had been out an hour, and which continued unceasingly to increase till they stopped in Pulteney Street again, induced her, in some small degree, to resist such high authority, and <i>to distrust his powers of giving universal pleasure.</i>”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">I didn’t exaggerate the uncanny parallelism, did I? It just goes from one to another, all the way through. And in particular, did you take note of Thorpe’s boasts of selling horses (for Trump that would translate to high rise buildings, right?) “for INCREDIBLE sums”? Doesn’t it almost seem as if Donald Trump modeled his entire <i>shtick </i>on John Thorpe?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">But of course, the correct explanation is not supernatural – it’s that there were indeed narcissistic monsters like Trump in Jane Austen’s era; and, hard-headed realist that she was (as Auden famously pointed out), she probably would not be at all surprised to see Trump if she were here with us today. Mary Crawford, Austen’s cynical alter ego in <i>Mansfield Park</i>, would sadly say, “Plus ca change…” and then move on to more agreeable subjects.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">But I’m still not done with Chapter 9 of <i>Northanger Abbey. </i> In the paragraph that immediately follows Catherine’s having to endure John Thorpe’s rant, we find that John Thorpe’s sister, Isabella, is equally enamored of absurd exaggeration and denial of commonsense reality – and watch for her regaling Catherine with not one but two “INCREDIBLES”!:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">“When they arrived at Mrs. Allen's door, the astonishment of Isabella was hardly to be expressed, on finding that it was too late in the day for them to attend her friend into the house: “Past three o'clock!” It was inconceivable, <i>INCREDIBLE</i>, impossible! And she would neither believe her own watch, nor her brother's, nor the servant's; she would believe no assurance of it founded on reason or reality, till Morland produced his watch, and ascertained the fact; to have doubted a moment longer then would have been equally inconceivable, <i>INCREDIBLE</i>, and impossible; and she could only protest, over and over again, that no two hours and a half had ever gone off so swiftly before, as Catherine was called on to confirm; Catherine could not tell a falsehood even to please Isabella; but the latter was spared the misery of her friend's dissenting voice, by not waiting for her answer.<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">[Isabella’s] own feelings entirely engrossed her;</span></i><span style="font-family: "Times New Roman", serif;"> her wretchedness was most acute on finding herself obliged to go directly home. It was ages since she had had a moment's conversation with her dearest Catherine; and, though she had such thousands of things to say to her, it appeared as if they were never to be together again; so, with smiles of most exquisite misery, and the laughing eye of utter despondency, she bade her friend adieu and went on…”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">So, in conclusion, what seems truly incredible is that a woman with no formal education, writing two centuries ago, could somehow shoot her literary arrow so accurately and true, so as to land right in the bull’s eye of a bright orange target of our present day, who rivals the boundlessly narcissistic, all powerful Prince Regent of her era, who was Jane Austen’s favorite contemporary real-life satirical target.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-9302035122910806852020-03-15T23:23:00.003-04:002020-03-15T23:24:07.330-04:00More Evidence of Mr. Elton’s ‘invasion’ of Emma, during their snowy carriage ride,as a parody of Napoleon ‘frozen’ in Russia<div class="MsoNoSpacing" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0in 0in 0.0001pt;">
<span style="font-family: "times new roman" , serif;">In November, 2015, I wrote a post in this blog….. </span><a href="http://tinyurl.com/pph3n9j" style="color: purple;"><span style="font-family: "times new roman" , serif;">http://tinyurl.com/pph3n9j</span></a><span class="MsoHyperlink" style="color: blue; text-decoration-line: underline;"><span style="font-family: "times new roman" , serif;"> …..</span></span><span style="font-family: "times new roman" , serif;">entitled “Mr. Elton’s ‘invasion’ of Emma, during their snowy carriage ride, as a parody of Napoleon ‘frozen’ in Russia!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">In that post, as the title makes clear, I gave a variety of evidence for the following:<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">“…the comic theme of the danger of the carriage ride between Hartfield and Randalls on Christmas Eve in <i>Emma</i> is actually a brilliant (and savagely satirical) parody of Napoleon’s disastrous invasion of Russia in 1812-13, when he was defeated by the harsh Russian winter and brilliant scorched earth Russian tactics. That spectacular and horrific defeat (in terms of lost lives and suffering) led quickly to Napoleon’s first exile to Elba as a result of the Congress of Vienna in 1814. We may infer from JA’s letters from June 1814 that she did not live with her head buried in the group, but knew all the details of Napoleon’s defeat, including whatever inside dope brother Henry may have gathered while attending the fabulous London ball that celebrated Napoleon’s defeat.”<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">To read all the evidence I presented then, I invite you to click on the link to my earlier blog post, and read it. I’m back today with an unexpected addendum of one more remarkable piece of evidence in the text of <i>Emma </i>which I failed to take notice of 4 ½ years ago, and which I stumbled upon by serendipity today, while looking at another topic entirely in <i>Emma</i>.<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">Here’s the passage in Chapter 26 which I read with fresh eyes today. The scene is the party that the Coles throw, that Emma grudgingly attends, knowing that in part she will have to endure hearing about Mr. Elton (who is a friend of the Coles) and his bride-to-be, Miss Hawkins of Bristol. And indeed, at one point in this very long chapter, he is mentioned, but only in brief passing:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">“The party was rather large, as it included one other family, a proper unobjectionable country family, whom the Coles had the advantage of naming among their acquaintance, and the male part of Mr. Cox's family, the lawyer of Highbury. The less worthy females were to come in the evening, with Miss Bates, Miss Fairfax, and Miss Smith; but already, at dinner, they were too numerous for any subject of conversation to be general; and, while politics and Mr. Elton were talked over, Emma could fairly surrender all her attention to the pleasantness of her neighbor [i.e., Frank]. The first remote sound to which she felt herself obliged to attend, was the name of Jane Fairfax. Mrs. Cole seemed to be relating something of her that was expected to be very interesting. She listened, and found it well worth listening to.” <o:p></o:p></span></div>
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<span style="color: #333333; font-family: "times new roman" , serif;">With the background I’ve given you, above, about Mr. Elton’s snowy quasi-Napoleonic disaster in Chapter 15, can you figure out what it is that just leapt out at me in Chapter 26 that relates back to it? After you give it some thought, scroll down a bit for my answer:</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">(SCROLL DOWN)<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">(SCROLL DOWN)<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I never before noticed, and thought about the meaning of, the conversation which Emma so studiously ignores, in which “politics and Mr. Elton were talked over”. When first examined, it might seem nothing more than a bit of quintessential wry, absurdist, Austenian irony, i.e., that the two discussion topics of greatest interest to the partygoers that float by Emma’s self-absorbed ears are, so to speak, “apples and oranges” – i.e., the great ---political affairs of state affecting the entire nation, versus the small -- small town gossip about Mr. Elton’s shockingly sudden marital success. And ironically, Emma is surely much more interested in Mr. Elton than politics.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">16 chapters later, we will witness Emma, in the full bloom of her narcissism, utterly uninterested in matters of great import in England -- the only sort of attention she gives to England is when she sits outside at Donwell Abbey:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">“It was a sweet view—sweet to the eye and the mind. English verdure, English culture, English comfort, seen under a sun bright, without being oppressive.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Not for a nanosecond does the fate of the English people -- especially the rural poor who have been displaced by major enclosure of the commons by squires like Knightley, to say nothing of the soldiers whose lives are at risk at that very moment on the Continent --- intrude on her fantasy that views the English countryside as nothing more than a grand painting created for her personal, exclusive viewing pleasure.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">But that description certainly does not apply to Jane Austen herself, whom we all know to have been among the keenest-eyed and most well-informed of English citizens. And so, it occurred to me that this passing reference to “politics” must be much more than a trivial offering to lovers of her small ironies. But what could it really mean? At that moment, I recalled that the Coles’ party occurs right before<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Valentine’s Day, 1814, when Frank goes to London to get his hair cut (and, I suggest, much more). And when I Googled “February 1814”, look what popped up in Wikipedia:<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">“The Battle of Champaubert (10 February 1814) was the opening engagement of the Six Days’ Campaign…a final series of victories by the forces of Napoleon… as the Sixth Coalition closed in on Paris… It was fought between a French army led by Napoleon and a small Russian corps…After putting up a good fight, the Russian formation was effectively destroyed…”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">However, Napoleon’s shocking victory, which surely was reported as very bad news in England shortly thereafter, was strikingly akin to the Battle of the Bulge 130 years later – e.g, it was a short lived surprising victory for a Continental conqueror, that was rapidly followed by his defeat – Paris fell two months later, and Napoleon was exiled to Elba in April 1814.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">So we see, once again, as with the slavery subtext that pervades all of <i>Mansfield Park, </i>Austen places major world events just at the edge of her stories. And knowledgeable early readers of <i>Emma </i>in 1816, only two years after the Six Days’ Campaign, could, with a small mental effort, have discerned the hidden calendar of the novel, and figured out exactly what was meant by “politics” – which, by the way, only adds to the absurdist humor of placing Napoleon’s fleeting military resurrection and Mr. Elton’s courtship triumph on equal footing!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">But then, as I said at the beginning of this post – this is not a stand-alone allusion – knowing what I first saw 4 ½ years ago, there is no question that we’re meant to connect Mr. Elton’s disastrous miscalculation in the snowy Christmas Eve carriage ride with Emma, to Napoleon’s disastrous miscalculation in the snowy steppes of Russia in the Winter of 1812-13!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">And many readers of <i>Emma </i>would say that Mr. Elton’s landing the Bristol heiress Miss Hawkins would, after the end of the novel, ultimately turn out to be his own personal Waterloo.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Cheers, ARNIE<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">@JaneAustenCode on Twitter<o:p></o:p></span></div>
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Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-62587540549036525412020-02-09T16:46:00.004-05:002020-02-09T16:46:30.126-05:00Milton Alluded to Calvin’s Four “Guerre, Irreconciliable” References
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
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<br />
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;">Since
my initial post </span><a href="https://sharpelvessociety.blogspot.com/2020/02/the-2-remarkable-sources-for.html" style="font-size: 11pt;"><span style="font-family: "Times New Roman",serif;">https://sharpelvessociety.blogspot.com/2020/02/the-2-remarkable-sources-for.html</span></a></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">on
Tuesday, I’ve had the chance to follow up on my claim that Milton’s War, Irreconcileable”
<span style="mso-spacerun: yes;"> </span>not only had the 1643 Westminster <i>Confession
of Silence</i> as a significant source, but even more so, also John Calvin’s
writings a century earlier, in 1536.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I now have
dug a little deeper, and determined that Calvin used this phrase “war, irreconcileable”
not once, not twice, but <i>four</i> times in his religious writings – and all
of them relating to the perpetual battle between God and Satan.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And
apropos spelling and word order, please note two other facts that fit perfectly
with the Calvin allusion being primary for Milton:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">In
French -- the language into which the French-speaking Calvin’s original Latin
was, I assume, first translated -- the noun “guerre” <i>precedes </i>the verb
“irreconciliable”, just as with Milton’s “war, irreconcileable”; and <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Also in
French, the word “irreconciliable” was, in the 16<sup>th</sup> century, and
still is today, spelled with that vowel “i” after the “l”; again, that is just
as with Milton’s manuscript’s vowel “e” after the “l”.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">With
that background, here, then, are Calvin’s four usages, in context – most
important, as I noted above, all of them relate to the war between God and
Satan, that Calvin was so perpetually focused on, and which is obviously the
central setting of Satan’s first speech in <i>Paradise Lost</i>, <i>in media
res</i>, as he awakens, stunned but unbowed, in the depths of Hell:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">We may
with more successful HOPE resolve<br />
To wage by force or guile <i>ETERNAL WAR,<br />
IRRECONCILABLE, TO OUR GRAND FOE</i>,<br />
Who now triumphs, and in th' excess of joy<br />
Sole reigning holds the tyranny of Heaven."<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"><br />
FIRST: Calvin’s <i>Commentary</i> on Psalms 92:9:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">Psalms
92:9 For lo, thine ENEMIES, O Lord: for lo, thine ENEMIES shall perish:
all the workers of INIQUITY shall be destroyed.</span></span><span style="font-family: "Times New Roman",serif;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Calvin:
“…When staggered in our own faith at any time by the prosperity of the WICKED,
we should learn by his example to rise in our contemplations to a God in
heaven, and the conviction will immediately follow in our minds that his
ENEMIES cannot long continue to triumph. The Psalmist tells us who they are
that are GOD’S ENEMIES. God HATES none without a cause; nay, so far as men are
the workmanship of his hand, he embraces them in his fatherly love. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">But as
nothing is more opposed to his nature than SIN, <i>he [God]
proclaims IRRECONCILABLE WAR with the WICKED<b>.</b></i> It
contributes in no small degree to the comfort of the Lord's people, to know
that the reason why the WICKED are DESTROYED is, their being necessarily the
objects of GOD'S HATRED, so that he can no more fail to punish them than deny
himself.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Same
passage, in Calvin’s French: Car il ne hait personne sans cause, mais plustost
d'autant que les hommes sont ses créatures, il leur porte une amour paternelle.
Mais pource qu'il n'y a rien tant contraire à sa nature qu'injustice, <i>il
dénonce UNE GUERRE IRRECONCILIABLE à tous meschans<b>.</b></i> Aussi les
fidèles reçoyvent de là une consolation qui n'est pas petite, quand on leur
allègue ceste cause de la perdition des meschans, qu'il faut nécessairement qu'ils
soyent hays de Dieu, lequel ne se peut renoncer soy-mesme.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">SECOND:
Calvin’s <i>Commentary</i> on Psalms 139:22:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">Psalms
139: 22 I hate them with an unfeigned HATRED, as they were
mine utter ENEMIES<i>.</i></span></span><b><i><span style="font-family: "Times New Roman",serif;"><o:p></o:p></span></i></b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Calvin:
“<i>On the other hand, it is a proof of our having a fervent zeal for God when
we have the magnanimity to declare IRRECONCILABLE WAR with the WICKED and them
who HATE GOD, rather than court their favor at the expense of alienating the
divine layout<b>.</b></i> We are to observe, however, that the hatred of which
the Psalmist speaks is directed to the sins rather than the persons of the
wicked. We are, so far as lies in us, to study peace with all men; we are to
seek the good of all, and, if possible, they are to be reclaimed by kindness
and good offices: only so far as they are ENEMIES TO GOD we must strenuously CONFRONT
their RESENTMENT.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">In
Calvin’s original French: “…sinon que nous ayons ceste magnanimité de plustost
choisir <i>d'avoir</i> <i>UNE GUERRE IRRECONCILIABLE</i> avec les meschans
et contempteurs de Dieu…”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">THIRD:
Calvin’s <i>Institutes of the Christian Religion</i> 1:15 <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">1:15.
One thing which ought to animate us to perpetual contest with the DEVIL is,
that he is everywhere called both OUR ADVERSARY and the ADVERSARY OF GOD. For,
if the GLORY of God is dear to us, as it ought to be, we ought to struggle with
all our might against him who aims at the extinction of that GLORY<b><i>. </i></b><i>If
we are animated with proper zeal to maintain the kingdom of Christ,
we must WAGE PERPETUAL & IRRECONCILABLE WAR with him who conspires its
ruin.</i> Again, if we have any anxiety about our own salvation, we ought to
make no peace nor truce with him who is continually laying schemes for its
destruction. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">In
Calvin’s original French: “…Si nous sommes affectionez, comme nous le devons
ester, a maintenir le Regne de Jesus-Christ en son entire, ne faut-il pas que
nous ayions <i>UNE GUERRE PERPETUELLE & IRRECONCILIABLE</i> avec celuy qui
s’efforce de le detruire?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Note in
particular that in this commentary among the four, Calvin refers to an irreconcilable
<i>and perpetual</i> war, which is why, I claim, Milton’s Satan vows “<i>eternal
</i>war, irreconcileable,”.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">FOURTH:
Calvin’s <i>Commentary on a Harmony of the Evangelists:<o:p></o:p></i></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Mark
1:34<span style="mso-spacerun: yes;"> </span><span class="text">And he healed many
that were sick of divers diseases: and he cast out many devils,
and suffered not the devils to say that they knew him.</span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Calvin’s
<i>Commentary</i> on Mark 1:34: He did not permit the devils to speak. There
might be two reasons why he did not permit them: a general reason, because the
time of the full revelation was not yet come; and a special reason, which we
hinted at a little ago, that he refused to have, as heralds and witnesses of
his divinity, those whose praise could have no other effect than to soil and
injure his character. This latter reason is undoubtedly true: <i>for he must
have known, that the prince of death, and his agents, are in a state of IRRECONCILABLE
war with the Author of eternal salvation and life.</i><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 6.0pt;">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">In
Calvin’s French: “Car il a falu qu'on sceult le discord et <i>LA GUERRE
IRRECONCILIABLE </i> qu'avoit l'autheur de salui éternel et de vie,
avec le prince de la mort & ses supports.”<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; margin-bottom: 6.0pt; text-indent: 12.0pt;">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">CONCLUSION:<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">I
don’t see any other plausible inference from the above than that Milton meant
for his theologically knowledgeable readers to recognize, from the very start
of <i>Paradise Lost,</i> that Calvin’s theology was his next most significant
allusive source, second only to the Books of Genesis and Revelation.<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">In
regard to the alpha and omega of the Christian Bible, I also learned yesterday
that Calvin, for all his comprehensive Biblical commentaries, never wrote one
about Revelation. Could it be that Milton noticed that, and decided he would
fill that void, and not just write such a commentary, he would dramatize it on
a massive scale!<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">Cheers,
ARNIE<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "Times New Roman",serif;">@JaneAustenCode
on Twitter <o:p></o:p></span></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-5967600860688856762020-02-06T15:33:00.001-05:002020-02-09T16:47:39.841-05:00The 2 Remarkable Sources for the ‘Irreconcilable’ Comma in Satan’s 1st Speech in Paradise Lost<!--[if gte mso 9]><xml>
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<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; font-size: 11pt;">[Since I wrote the below post, I've written a followup that makes the Calvin allusion even more certain:</span><br />
<a href="https://sharpelvessociety.blogspot.com/2020/02/milton-alluded-to-calvins-four-guerre.html">https://sharpelvessociety.blogspot.com/2020/02/milton-alluded-to-calvins-four-guerre.html</a> ]<br />
<span style="font-family: "times new roman" , serif; font-size: 11pt;"><br /></span>
<span style="font-family: "times new roman" , serif; font-size: 11pt;"><br /></span>
<span style="font-family: "times new roman" , serif; font-size: 11pt;">In the Milton-L group last Saturday, Carl
Bellinger asked, “Why the middle comma” in the defiant speech by Satan,
immediately after the precipitous descent down to Hell at the beginning of Book
1 of </span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">Paradise Lost</i><span style="font-family: "times new roman" , serif; font-size: 11pt;">. </span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; font-size: 11pt;"><br /></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; font-size: 11pt;">Satan, replying to Beelzebub, expresses his fierce
resolution to deny God the “glory” of having Satan beg for forgiveness, and
urges his diabolical crew to resist the temptation to cave, but instead to hang
tough and continue to resist God’s “tyranny”:</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">That
glory never shall his wrath or might<br />
Extort from me. To bow and sue for grace<br />
With suppliant knee, and deify his power<br />
Who, from the terror of this arm, so late<br />
Doubted his empire—that were low indeed;<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">That were
an ignominy and shame beneath<br />
This downfall; since, by fate, the strength of Gods,<br />
And this empyreal substance, cannot fail;<br />
Since, through experience of this great event,<br />
In arms not worse, in foresight much advanced,<br />
<i>We may with more successful hope resolve<br />
To wage by force or guile eternal war,<br />
IRRECONCILABLE, to our GRAND FOE,<br />
Who now triumphs, and in th' excess of joy<br />
Sole reigning holds the tyranny of Heaven."<br />
</i> So spake th' apostate Angel, though in pain,<br />
Vaunting aloud, but racked with deep despair…<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I read
all of the interesting replies in Milton-L to this question the past few days, and saw
merit in them all, but my intuition whispered to me that there had to be some
other, deeper reason for that comma, beyond those already proffered. From my
recent delvings into Milton’s acrostics and related wordplay, and also into the
recently identified marginalia in his personal First Folio, I knew that even a
comma could potentially be intentional and highly significant. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">All the
explanations given so far seem to assume that the adjective “irreconcilable”
must be a modifier of the initial “We” (i.e., Satan and his fellow fallen
angels) two lines above it. That assumption is what makes the comma seem
disruptive of the grammar and flow of the entire sentence, while not evidencing
any purpose of Milton to alter the meaning of the sentence <i>sans </i>comma.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">So….
what if Milton intended for “irreconcilable” to modify some <i>other</i> word
in that sentence? As I asked this, the answer popped out at me --- it must the
word immediately <i>preceding</i> it – i.e., “war”. That <i>would</i> be
perfectly grammatical, and, what’s more, it’d make the meter of the two lines
work. I.e., if the line beginning with “To wage” ended with “eternal,
irreconcilable war”, there’d be too many syllables in the line, and too few in
the next line. But, by bracketing “irreconcilable” within two commas, Milton
had his iambic pentametric cake and ate it too.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">What
exactly is “irreconcilable war”? Nothing more than a bit of poetic condensation
-- meaning, Satan refers to a war waged <i>in lieu of</i> reconciliation
between the warring parties. It makes sense. But, you may also object, that we
wage war “against”, not “to”, a foe. I acknowledge I’m on shakier ground when I
go to that same poetic well again, and suggest that normal rules of which
preposition is used with a particular verb are often bent for poetic effect. Or
maybe in Milton’s day, some folks did use the preposition “to” with “wage war”,
but that practice ceased a while ago?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Either
way, I still felt that I was onto something, so I Googled “irreconcilable war”,
hoping to find some contemporary usage of “irreconcilable war” which would
support my intuition. And boy, did I get lucky, because Google ultimately provided
me with not one, but two magic keys, which reveal a complex matrix of meaning,
hidden in plain sight, via that extra enigmatic comma. Get a load of these Miltonian
apples (ha ha). Can you guess the two sources I quote from below?:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">SOURCE
ONE:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Chapter
13: “Of Sanctification”:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">1. They
who are united to Christ, effectually called, and regenerated, having a new
heart and a new spirit created in them through the virtue of Christ's death and
resurrection, are also farther sanctified, really and personally, through the
same virtue, by His Word and Spirit dwelling in them; the dominion of the whole
body of sin is destroyed, and the several lusts thereof are more and more
weakened and mortified, and they more and more quickened and strengthened in
all saving graces, to the practice of all true holiness, without which no man
shall see the Lord.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">2. This
sanctification is throughout, in the whole man; yet imperfect in this life,
there abiding still some remnants of corruption in every part: <i>whence arises
a continual, and IRRECONCILABLE WAR;</i> the flesh lusting against the Spirit,
and the Spirit against the flesh. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">3. <i>In
which war, although the remaining corruption, for a time, may much prevail</i>;
yet, through the continual supply of strength from the sanctifying Spirit of
Christ, the regenerate part does overcome: and so, the saints grow in GRACE,
perfecting holiness in the fear of God. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">SOURCE
TWO:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">“David’s
example should teach us to rise with a lofty and bold spirit above all regard
to the enmity of the wicked, when the question concerns the honor of God, and
rather to renounce all earthly friendships than falsely pander with flattery to
the favor of those who do everything to draw down upon themselves the divine
displeasure. We have the more need to attend to this, because the keen sense we
have of what concerns our private interest, honor, and convenience, makes us
never hesitate to engage in contest when any one injures ourselves, while we
are abundantly timid and cowardly in defending the glory of God. Thus, as each
of us studies his own interest and advantage, the only thing which incites us
to contention, strife, and war, is a desire to avenge our private wrongs; none
is affected when the majesty of God is outraged. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "times new roman" , serif;">On
the other hand, it is a proof of our having a fervent zeal for God when we have
the magnanimity to declare IRRECONCILABLE WAR with the wicked and them who hate
God, rather than court their favor at the expense of alienating the divine
layout.</span></i><span style="font-family: "times new roman" , serif;"> We are to
observe, however, that the hatred of which the Psalmist speaks is directed to
the sins rather than the persons of the wicked. We are, so far as lies in us,
to study peace with all men; we are to seek the good of all, and, if possible,
they are to be reclaimed by kindness and good offices: only so far as they are
enemies to God we must strenuously confront their resentment.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Did you
guess either one? <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">The
first source, published in 1643 when Milton was 35 years old, is the <i>Westminster
Confession of Faith</i>. The significance of that source vis a vis <i>Paradise
Lost</i> will be immediately apparent from the following summary in Wikipedia:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="background: white;">
<span style="color: #222222;">“The <i>Westminster
Confession of Faith</i> is a Reformed confession of faith. Drawn up by the
1646 Westminster Assembly as part of the Westminster Standards to be
a confession of the Church of England... In 1643, the English
Parliament called upon "learned, godly and judicious Divines" to
meet at Westminster Abbey in order to provide advice on issues of worship,
doctrine, government and discipline of the Church of England....For more than
300 years, various churches around the world have adopted the confession and
the catechisms as their standards of doctrine, subordinate to the Bible....</span><span style="color: #222222; font-family: "calibri" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span style="color: #222222;">During
the English Civil War (1642–1649), the English Parliament raised
armies in an alliance with the Covenanters who by then were the de
facto government of Scotland, against the forces of Charles I, King of
England, Scotland and Ireland. The purpose of the Westminster Assembly, in
which 121 Puritan clergymen participated, was to provide official documents for
the reformation of the Church of England ....The Confession and Catechisms were
produced to secure the help of the Scots against the king.</span><span style="color: #222222; font-family: "calibri" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span style="color: #222222;">…The
Church of Scotland adopted the document, without amendment, in 1647. In
England, the House of Commons returned the document to the Assembly with
the requirement to compile a list of proof texts from Scripture. After vigorous
debate, the Confession was then in part adopted as the Articles of Christian
Religion in 1648...The next year, the Scottish parliament ratified the
Confession without amendment.</span><span style="color: #222222; font-family: "calibri" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span style="color: #222222;">In
1660, the Restoration of the British monarchy and Anglican episcopacy
resulted in the nullification of these acts of the two parliaments. However,
when William of Orange replaced the Roman Catholic King James VIII of
Scotland and II of England on the thrones of Scotland, England and
Ireland, he gave royal assent to the Scottish parliament's ratification of the
Confession, again without change, in 1690…</span><span style="color: #222222; font-family: "calibri" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I noted
that Google result first on Saturday, and then spent an enjoyable several hours
tracking down every scholarly discussion I could find that bore in some way on
the rich intertextual connectivity which, I’ve now learned, exists between <i>The
Confession of Faith</i> (including, but far from limited to the above quoted
Chapter 13 thereof), on the one hand, and Milton’s writings (including but by
no means limited to, <i>Paradise Lost</i>), on the other.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">But
then, I recalled that in my excitement at finding Source One, I had neglected
to look at all the Google results for “irreconcilable war”. When I went back to
them yesterday, I learned that Source One was actually derived in no small part
from Source Two, which is John Calvin’s Commentary on Psalm 139:22, part of his
monumental, uber-famous and influential <i>Institutes of the Christian Religion
</i>written in 1536!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">As
further evidence that Milton had Psalms 139 on his radar screen as he wrote
Satan’s speech about waging “war, irreconcilable, to” God, we see, in the lines
which introduce Satan’s speech, the following:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Instruct
me, for thou know'st; thou from the first<br />
Wast present, and, with mighty wings outspread,<br />
Dove-like sat'st brooding on the vast Abyss,<br />
And mad'st it pregnant: what in me is dark<br />
Illumine, what is low raise and support;<br />
That, to the height of this great argument,<br />
I may assert Eternal Providence,<br />
And justify the ways of God to men.<br />
Say first—<i>for Heaven hides nothing from thy view</i>,<br />
Nor the deep tract of Hell—say first what cause<br />
Moved our grand parents, in that happy state,<br />
Favoured of Heaven so highly, to fall off<br />
From their Creator, and transgress his will<br />
For one restraint, lords of the World besides.<br />
Who first seduced them to that foul revolt?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">“for
Heaven hides nothing from thy view” is an unmistakable echo of Psalms
139:11-12, in which the Psalmist notes that there’s no hiding from the
all-seeing God:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "times new roman" , serif;">11
If I say, Yet the darkness shall hide me, even the night shall be light about
me.</span></span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span class="text"><span style="font-family: "times new roman" , serif;">12 Yea,
the darkness hideth not from thee: but the night shineth as the day: the
darkness and light are both alike.</span></span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">PRELIMINARY
IMPLICATIONS<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">The web
of intertextuality reaches dizzying complexity, when we consider that Source
Two, Calvin, was a huge influence on Source One, the Westminster Confession
written a century later. But, for starters, it appears to me, from my
preliminary research over the past few days, that no scholar has previously
noted Milton’s allusion, in Satan’s ‘war, irreconcilable”, as referring to
either Calvin or the Confession.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Isn’t
that very strange? From my initial recent dabblings in Calvin, it seems obvious,
with 20:20 hindsight, that Calvin’s well-recognized love of martial metaphors
to describe the spiritual battle with evil, would’ve made him a prime allusive
source and inspiration for Milton, who obviously was familiar with Calvin.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">And consider
the monumental irony that Satan, in his very first speech, turns Calvin’s martial
rhetoric on its head, referring to <i>his own</i> irreconcilable war on God,
instead of Calvin’s and the Westminster Assembly’s irreconcilable war against
Satan! Is this an example of Milton being of the devil’s party…..and knowing it
very well indeed?!<span style="mso-spacerun: yes;"> </span>;)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Based
on this prima facie evidence, and all the material I’ve quickly mined from
online databases, I’ve decided to take on the task, over the next few weeks, of
making a comprehensive argument about how and why Milton chose, in this most
prominent portion of <i>Paradise Lost, </i>to allude, covertly and yet in the
plain sight of his knowing readers –probably more than a few -- to those two
highly influential sources.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">At the
risk of gross oversimplification, I will go out on one short limb already. To
wit: I am highly confident that another word, besides “irreconcilable” and
war”, will turn out to be very important in both <i>The Confession of Faith</i>
and Calvin’s Biblical commentaries, and also, repeatedly, in <i>Paradise Lost</i>,
which holds the key to great meaning in Milton’s allusion: “GRACE”. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Included
in my promised discussion will be consideration of two additional interesting
facts:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">ONE:
The word “reconcilement” occurs 3 other times in <i>Paradise Lost, </i>along
with 1 usage of “reconciled”, and the comparison of them all to Satan’s usage
of their antonym is rich with significance.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">TWO:
The word “reconcilement” and its variants appears a relatively small number of
times in Shakespeare’s plays, but at least some of them appear significant. In
particular, in light of Milton’s extraordinary interest in <i>Romeo and Juliet </i>reflected
in his own personal First Folio marginalia (as I predicted<i> before</i> seeing
the actual marginalia -- see my post of 4 months ago in this regard, here: </span><a href="https://sharpelvessociety.blogspot.com/2019/09/what-in-hell-was-milton-thinking-when.html"><span style="font-family: "times new roman" , serif;">https://sharpelvessociety.blogspot.com/2019/09/what-in-hell-was-milton-thinking-when.html</span></a><span style="font-family: "times new roman" , serif;"> ), it is remarkable that one of
the passages in R&J is a speech in Act 3, Scene 3, by Friar Laurence that
Milton glossed.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">And so,
with reconcilement and grace, I will now sign off.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Cheers,
ARNIE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">@JaneAustenCode
on Twitter<o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-65096963225191330392020-02-01T16:07:00.003-05:002020-02-01T16:16:34.414-05:00 The Finale of THE GOOD PLACE<!--[if gte mso 9]><xml>
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<!--StartFragment-->
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; font-size: 11pt;">*********[SPOILERS!]*********</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;"><o:p><br /></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">My wife
and I watched the final episode of <i>The Good Place </i>Thursday night, less
than 2 months after we started bingeing the series from scratch, on the
recommendation of my son Henry and his girlfriend Kat, who was the first to
start watching it. As you might’ve guessed, we’ve enjoyed it a lot, and so were
happy to be among the 2.3 million folks watching the finale in more or less
real time.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">A few
weeks ago, I imagined the finale would<i> surely</i> (ha ha) be the final
“Gotcha!” that Michael Schur and his writers seemed to have in store for us – a
final zag in four seasons of twists and turns. Each time they had pulled the
rug out from under our viewerly certainty, as we struggled to understand, again
and again, along with Eleanor, Chidi, and their pals, what the fork was really
going on. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Based
on various hints scattered throughout the series, including those summarized
two years ago here, <a href="https://www.vulture.com/2018/01/the-good-place-season-2-wizard-of-oz-references.html">https://www.vulture.com/2018/01/the-good-place-season-2-wizard-of-oz-references.html</a>,
I was confident that the ending was going to be some sort of send-up of <i>The
Wizard of Oz</i>, in which we’d finally learn that Eleanor (her name is an anagram
of “Real One”) was the one <i>real </i>person --- a dreamer, whose sleeping mind
had created the Good Place, peopling it with real friends (and enemies) from
her real life. And I expected there was also going to be woven into that Big
Reveal some tip of the hat to <i>Groundhog Day</i>, with its brilliant
enactment of the perfection of a soul over infinite daily reboots.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Well, I
was wrong about <i>The Wizard of Oz </i>part, and I now believe Schur & Co.
led me (and others like myself with a love of solving puzzles) down this particular
garden path of speculation, as if to say, don’t overthink this thing. But I’m
not disappointed, partly because the ending did indeed have some smack of <i>Groundhog
Day </i>about it – but more because it was, as has been more or less
universally acknowledged by critics and Tweeps alike, a pretty perfect ending
-touching yet funny; unpretentious yet profound. And how particularly lovely
that Ted Danson’s Michael, like Bruno Ganz’s angel Damiel in Wenders’ <i>Wings of
Desire</i>, finally gets to shed his wings and be fully human. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">And it
turns out that, for subtext wonks like myself, there is yet another wonky and
significant allusion hidden in the final two episodes after all. To explain, I
begin by quoting from an excellent short piece about the finale:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<a href="https://slate.com/culture/2020/01/the-good-place-series-finale-review-whenever-youre-ready.html"><span style="font-family: "times new roman" , serif;">https://slate.com/culture/2020/01/the-good-place-series-finale-review-whenever-youre-ready.html</span></a><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<em>The Good Place</em><span style="font-family: "times new roman" , serif;"> Went
Out on Its Own Terms<span style="mso-spacerun: yes;"> </span>by Sam Adams<span style="mso-spacerun: yes;"> </span>01/31/2020<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">“…The
penultimate episode, <i>Patty</i>, left us where most finales would, with its
central couple frozen in a moment of romantic bliss. But the show’s actual
finale asked the question that happily-ever-after endings try to finesse: What
happens next?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "times new roman" , serif;">Patty</span></i><span style="font-family: "times new roman" , serif;"> found the series’ formerly damned
souls finally arriving in actual heaven, and also introduced the idea that,
given an infinity of time, even perfect happiness would become intolerably
dull. That meant that the only true paradise was one from which you could
eventually opt out: Life is made meaningful by death, and the afterlife by …
whatever comes after that. It seemed inevitable that the finale would find the
Soul Squad making the choice, one by one, to step through the door that would
end their existence for good. Even its title, “Whenever You’re Ready,” coached
us to brace for a series of teary farewells.”<span style="mso-spacerun: yes;">
</span>END QUOTE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I quote
the above summary of the penultimate episode of <i>The Good Place</i>, because
it perfectly sums up that final plot zag. Indeed, Eleanor is the Answer,
because Eleanor <i>provides</i> the answer, as she transcends an apparent
paradox and does Chidi proud. Here’s the way she explains it:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Hi,
everyone, can I have your attention, please? Hi, my name's Eleanor Shellstrop.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Hope
you're having fun at our Flor-izona British library extravaganza.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I guess
you don't really have fun anywhere, which is the point.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">It
doesn't seem like this is paradise for you.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">You've
basically been on a never-ending vacation, and vacations are only special
because they end.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">So we
have an idea. We're gonna set up a new kind of door.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Um,
somewhere peaceful, so that when you feel happy and satisfied and complete, and
you want to leave the Good Place for good, you can just walk through it, and
your time in the universe will end.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">You
don't have to go through it if you don't want to, but you can, and hopefully,
knowing that you don't have to be here forever will help you feel happier while
you are.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">What
will happen when we go through it? Well, we don't really know, exactly.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">All we
know is, it will be peaceful, and your journey will be over.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">You led
great lives. You earned your place here. So stay here as long as you like.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Use the
Green Doors to see and do every single thing you want to see and do.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">And
when you're ready walk through one last door, and be at peace.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Does
that sound good? [CHEERS AND APPLAUSE.]<br />
<br />
As I registered that message, I was immediately transported back in time to the
work which (I’m far from the first to have noted, with giant clues like Episode 13 of Season 3, entitled "Pandaemonium") is another key allusive
source for <i>The Good Place</i> – John Milton’s <i>Paradise Lost. </i>But
first, a quick aside in that regard.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;"><span style="mso-spacerun: yes;"> </span>I’m no Milton expert, but I do claim special
insight into one aspect of his genius – his love of acrostics, which, I’ve
argued in this blog for the past 6 years, he was inspired to create by his
great mentor, Shakespeare. Most notably, Milton’s SATAN acrostic in Book 9 of <i>Paradise
Lost</i> was first discovered by my friend Paul Klemp in 1977 (i.e., it went undetected
for 3 clueless centuries!). <span style="mso-spacerun: yes;"> </span>In turn, I then
was the first to note, in 2014, that Milton’s SATAN acrostic points back to the
SATAN acrostic in Friar Laurence’s speech to Juliet when he gives her the
sleeping potion. Since that potion definitely does not lead to any sort of “good
place”, for Juliet, Romeo, or anybody else in the play, Shakespeare’s marginal
“whisper” of “SATAN” is a pretty big clue that the seemingly bumbling,
well-intentioned Friar had some pretty satanic intentions all along. Talk about
a “Gotcha!”<i><o:p></o:p></i></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Anyway,
back to <i>Paradise Lost </i>vis a vis the ending of <i>The Good Place</i>. I
recalled from my dabblings into Milton’s acrostics that there’s a speech by God
in Book 11, not long before the end, which pithily and poetically justifies God’s
grand plans for the human race. Speaking to The Son (i.e., Jesus), he explains
that he deliberately created a world in which humans, initially immortal, would
be tempted by Satan (and knowledge), and thereby become mortal -- which,
paradoxically, leads to their ultimate salvation. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">It didn’t
take me long to locate God’s specific speech which I believe Schur had very
specifically in mind when he wrote Eleanor’s version of it:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;"><span style="mso-spacerun: yes;"> </span>I, at first, with two fair
gifts<br />
Created [Adam] endowed; with happiness,<br />
And immortality: that fondly lost,<br />
This other served but to eternize woe;<br />
Till I provided death: so death becomes<br />
His final remedy; and, after life,<br />
Tried in sharp tribulation, and refined<br />
By faith and faithful works, to second life,<br />
Waked in the renovation of the just,<br />
Resigns him up with Heaven and Earth renewed.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Now, I
myself do not subscribe to the notion that belief in Jesus Christ is the exclusive
path to that “second life”; nor, <span style="mso-spacerun: yes;"> </span>based
on his comments in interviews about <i>The Good Place, </i>does Michael Schur.
The spiritual stance embodied in the show is clearly that there are many paths
to perfection of the soul, and that the same universal truths underlie many
different spiritual traditions and practices. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I like that
Sam Adams ended his article with a pithy Zen koan, that, like <i>The Good Place</i>,
does not tie everything in a neat bow, but leaves each reader/viewer room to
figure out our own answer:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">“<i>The
Good Place</i> went out on its own terms, with a finale that argued that
choosing your own ending is both a reward you earn and a gift you give.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">So, take
it sleazy, and maybe give the gift of <i>The Good Place </i>to someone who hasn’t
watched it.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Cheers,
ARNIE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">@JaneAustenCode
on Twitter<o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-7819806680919427592020-01-04T22:21:00.000-05:002020-01-04T22:21:02.846-05:00The subtle pun in Pride & Prejudice that Maria Edgeworth paid homage to in Patronage
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
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<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;">Today I
serendipitously came upon another one of Jane Austen’s remarkable puns – always
a special treat – and, as I’ll explain tomorrow in Part Two, I owe my discovery
to someone who, in May 1813, was among the first readers of P&P – Maria Edgeworth!</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">PART
ONE: The Subtle Pun in <i>Pride & Prejudice</i> <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman",serif;">The pun
occurs at the end of Mr. Collins’s courtship career in Meryton, but first, some
setup. After pursuing Elizabeth so persistently and obliviously for a half
dozen chapters, the new rector of Hunsford finally gets the memo that she’s not
that into him, and she is greatly relieved. But then, seemingly out of nowhere,
Elizabeth’s dearest friend, Charlotte, swoops in and snags the red-blooded rector
before he cools down from Eliza’s rejection of his delicate wooing.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman",serif;">Here’s
how Elizabeth feels in Chapter 22 right after Charlotte personally delivers her
the shocking news:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“…Charlotte
did not stay much longer, and Elizabeth was then left to reflect on what she
had heard. It was a long time before she became at all reconciled to the idea
of so unsuitable a match. The strangeness of Mr. Collins’s making two offers of
marriage within three days was nothing in comparison of his being now accepted.
She had always felt that Charlotte’s opinion of matrimony was not exactly like
her own, but she had not supposed it to be possible that, when called into
action, she would have sacrificed every better feeling to worldly advantage.
Charlotte the wife of Mr. Collins was a most humiliating picture! And to the
pang of a friend disgracing herself and sunk in her esteem, was added the
distressing conviction that it was impossible for that friend to be tolerably
happy in the lot she had chosen….”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Since
2010, I’ve been arguing that the magnitude of Elizabeth’s distress is disproportionate
to ordinary concern for her friend’s marital future with a husband like Mr.
Collins. Instead it also reflects her painful sense of betrayal arising from
the abrupt severing of her longstanding quasi-romantic attachment to Charlotte.
Elizabeth isn’t consciously aware of the romantic part, but Charlotte most
assuredly is, and always has been – and ultimately, it’s Charlotte’s oblique but
relentless pursuit of her beloved Elizabeth that drives the rest of the plot of
the shadow story of the novel. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">But
that lesbian subtext in the shadow story of P&P is <i>not </i>my topic today–
it’s the pun. To get to it, let’s look next at how Elizabeth feels after she’s had
a chance to sleep on this shocking news. We see a clear deepening of Elizabeth’s
emotional withdrawal from Charlotte in Chapter 23, pulling back in pain:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“Between
Elizabeth and Charlotte there was a restraint which kept them mutually silent
on the subject; and Elizabeth felt persuaded that no real confidence could ever
subsist between them again. Her disappointment in Charlotte made her turn with
fonder regard to her sister, of whose rectitude and delicacy she was sure her
opinion could never be shaken, and for whose happiness she grew daily more
anxious, as Bingley had now been gone a week and nothing more was heard of his
return.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And now
we’ve come to the point – in that paragraph of narration, see if you can spot
the subtle pun in it. To help, I gave you an additional hint in my initial
exposition. Try to spot it, or when you’ve had enough of puzzling, scroll down a
bit to read my take:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">SCROLL
DOWN…..<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">SCROLL
DOWN…..<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">The pun
is in the very unusual word “rectitude”, which only appears twice in all six
Austen novels put together – in Chapter 23 of P&P, and in a passage in
S&S. That “rectitude” is a pun on the “rector” of Hunsford, Mr. Collins, who
is, in a real sense, a “rector” who lacks “rectitude”!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">But that’s
only the first layer of the punny onion. What makes this pun more than just superficial
wit is the character psychology behind it. Elizabeth has begun to contemplate
the permanent loss of Charlotte, who has been one of the two pillars of female intimacy
in her life. So it is only natural that, in reaction, Eliza doubles down on the
other of the two – her dearest sister Jane. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Look at
the two words which come to Elizabeth’s mind as she pictures her sister: “rectitude”
and “delicacy”. These are words which have not previously been associated with
Jane in the novel -- indeed, we only read of Jane’s delicacy once later on, far
ahead in Chapter 61. So, why do these two words occur to Elizabeth? Because, I
suggest to you, by negative implication these are two positive qualities that
Elizabeth now believes are <i>absent</i> in Charlotte, in the aftermath of
Charlotte’s having “sunk” in Elizabeth’s “esteem”.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And why
would those two qualities be lacking in Charlotte? Here we have Austen’s subtle
masterful artistry on full display; because these two words have, for the previous
ten chapters, been associated repeatedly with the person whom Charlotte has now
chosen as her life partner – Mr. Collins. <span style="mso-spacerun: yes;"> </span>In short, he’s the suitor whose false “delicacy”
in unctuous flattery, and fake ‘rectitude” in his pious platitudes, has been
giving Elizabeth a very bad case of heartburn! So now, in Eliza’s mind, Charlotte
is yoked to her new husband’s defining, worst character traits!<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">To
fully appreciate this psychological effect, look now at how JA has subliminally
prepared her readers for this particular turn of phrase in a half dozen earlier
passages:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif; mso-bidi-theme-font: minor-bidi;">Chapter 13: </span><span style="font-family: "Times New Roman",serif;">“About a month ago I received this letter; and about a
fortnight ago I answered it, for I thought it a case of some DELICACY, and
requiring early attention. It is from my cousin, Mr. Collins, who, when I am
dead, may turn you all out of this house as soon as he pleases.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">…‘…I have
been so fortunate as to be distinguished by the patronage of the RIGHT
Honourable Lady Catherine de Bourgh, widow of Sir Lewis de Bourgh, whose bounty
and beneficence has preferred me to the valuable RECTORY of this parish…”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Chapter
14: “…you may imagine that I am happy on every occasion to offer those little DELICATE
compliments which are always acceptable to ladies…These are the kind of little
things which please her ladyship, and it is a sort of attention which I conceive
myself peculiarly bound to pay.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“You
judge very properly,” said Mr. Bennet, “and it is happy for you that you
possess the talent of flattering with DELICACY. May I ask whether these
pleasing attentions proceed from the impulse of the moment, or are the result
of previous study?”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Chapter
15: A fortunate chance had recommended him to Lady Catherine de Bourgh when the
living of Hunsford was vacant; and the respect which he felt for her high rank,
and his veneration for her as his patroness, mingling with a very good opinion
of himself, of his authority as a clergyman, and his RIGHT as a RECTOR, made
him altogether a mixture of pride and obsequiousness, self-importance and
humility.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Chapter
18:” …I do not mean, however, to assert that we can be justified in devoting
too much of our time to music, for there are certainly other things to be
attended to. The RECTOR of a parish has much to do….”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">…He
assured her, that as to dancing, he was perfectly indifferent to it; that his
chief object was by DELICATE attentions to recommend himself to her and that he
should therefore make a point of remaining close to her the whole evening.
There was no arguing upon such a project. She owed her greatest relief to her
friend Miss Lucas, who often joined them, and good-naturedly engaged Mr.
Collins’s conversation to herself….”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Chapter
19: “…You can hardly doubt the purport of my discourse, however your natural DELICACY
may lead you to dissemble; my attentions have been too marked to be mistaken.
Almost as soon as I entered the house, I singled you out as the companion of my
future life…”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">…“…In
making me the offer, you must have satisfied the DELICACY of your feelings with
regard to my family, and may take possession of Longbourn estate whenever it
falls, without any self-reproach. This matter may be considered, therefore, as
finally settled.” <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“….I am
far from accusing you of cruelty at present, because I know it to be the
established custom of your sex to reject a man on the first application, and
perhaps you have even now said as much to encourage my suit as would be
consistent with the true DELICACY of the female character.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Chapter
20: Mr. Collins received and returned these felicitations with equal pleasure,
and then proceeded to relate the particulars of their interview, with the
result of which he trusted he had every reason to be satisfied, since the refusal
which his cousin had steadfastly given him would naturally flow from her
bashful modesty and the genuine DELICACY of her character.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Again,
Mr. Collins, the rector with false delicacy and fake rectitude. The effect is
subliminal – the words ring a faint bell, and the reader must pause and think
about it, to know why they ring so true. Charlotte’s character has been tainted
by this shocking new association with Mr. Collins, and so of course Elizabeth
will ascribe to her dear sister Jane the very qualities which Mr. (and now, also
Mrs.) Collins merely pretends to have.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And Jane
Austen cannot resist a brief reminder of this pun near the end of the novel, in
Chapter 57, when we read Mr. Collins’ highly indelicate, theologically incorrect
verdict on Lydia: <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“ ‘… I
must not, however, neglect the duties of my station, or refrain from declaring
my amazement at hearing that you received the young couple into your house as
soon as they were married. It was an encouragement of vice; and had I been the RECTOR
of Longbourn, I should very strenuously have opposed it. You ought certainly to
forgive them, as a Christian, but never to admit them in your sight, or allow
their names to be mentioned in your hearing.’ That is his notion of
Christian forgiveness!...”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">But
take note that Mr. Collins’s false notion of “rectitude” is no more harsh than
Elizabeth’s writing off of Charlotte back in Chapter 23! JA hates pictures of imperfection,
too, and so she elects to unnerve us with a subtle suggestion that he is not as
bad, nor is Elizabeth as good, as we might like to think.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And there
is an even deeper meaning in Elizabeth contrasting Charlotte to Jane, which casts
an even darker shade on Elizabeth’s character. It’s not only that she is too
quick to write Charlotte off – after all, that turns out to be short-term,
because she does come visit Charlotte at Hunsford, and is sorry to leave her <span style="mso-spacerun: yes;"> </span>to return to Meryton.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Let’s
take a second look:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“Her
disappointment in Charlotte made her turn with fonder regard to her sister, of
whose rectitude and delicacy she was sure her opinion could never be shaken,
and for whose happiness she grew daily more anxious, as Bingley had now been
gone a week and nothing more was heard of his return.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Yes,
consciously Elizabeth tells herself she is anxious for Jane; but unconsciously,
I suggest that Jane’s reassuring “rectitude and delicacy” arises not so much
from Jane’s impeccable character, so much as from Jane’s bleak romantic
prospects with Bingley – i.e., Jane will not marry and abruptly vanish from
Eliza’s life, as Charlotte’s did!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And
this ties in with one of the great conundra of P&P – why is it that Eliza
never tells Jane about Darcy’s interference? Sure, she rationalizes keeping this
secret all along, but there is a piece of this, I suggest, which is Elizabeth’s
jealousy of the “more beautiful, almost saintly” Jane. And part of that jealousy
is what is behind Jane’s “rectitude and delicacy” in her misery.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And note
that all of this complex insight is the fruit of that one subtle little pun. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I will
post Part Two tomorrow, which is amazing, in a different way.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Cheers,
ARNIE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">@JaneAustenCode
on Twitter <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-31595568126739534502020-01-03T15:30:00.000-05:002020-01-03T17:44:39.607-05:00The Bride of Northanger by Diana Birchall<!--[if gte mso 9]><xml>
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<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; font-size: 11pt;">I blogged
the other day about seeing a fabulous stage performance of </span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">Miss Bennet:
Christmas at Pemberley, </i><span style="font-family: "times new roman" , serif; font-size: 11pt;">the brilliant sequel to </span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">Pride & Prejudice</i><span style="font-family: "times new roman" , serif; font-size: 11pt;">
written by Gunderson and Meldoc. I’m back today with a rave review of another
recent, high quality work of Austen-inspired fiction, </span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">The Bride of
Northanger</i><span style="font-family: "times new roman" , serif; font-size: 11pt;">, by my great friend, Diana Birchall.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">This
will be the first of two posts by me about Diana’s novel, because I will be
writing a second report a few weeks from now, which will be replete with major
spoilers for the deft and satisfying plot twists that Diana so expertly unfolds
for the reader’s delight in the final chapters. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">What I
wish to say today that is no spoiler for anyone familiar with Diana’s writing
style, is that this is perhaps Diana’s best work so far (and I loved her <i>In
Defense of Mrs. Elton </i>pastiche from two decades <span style="mso-spacerun: yes;"> </span>ago when I first met her virtually in the
Janeites group). Diana, like Gunderson and Meldoc, perfectly understands that
it would be a fool’s errand to try to mimic Austen’s unique style – instead, Diana
has reached a high level of expertise in her own unique, witty way of turning
phrases, building and lowering tension, and bringing a smile on every page. <i>Inspired
by Austen</i> perfectly described what Diana does, and that is a wonderful
thing, that is rarely done as well as she does it.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "times new roman" , serif;">Bride
</span></i><span style="font-family: "times new roman" , serif;">picks up shortly after
the end of the action of <i>Northanger Abbey</i>, and the primary focus, as you
would hope and expect, is on the early married life of Catherine and Henry, as Diana
imagines it. But this is no domestic melodrama – very quickly, the action takes
a decidedly Gothic turn, and then keeps us in suspense every step of the way
thereafter, as to how it will turn out – but it never gets lost in the Gothic,
it’s always about character.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I particularly
love that Diana gives us a Catherine who is not just moral and good, but also
smart and steadily growing in life wisdom. She also brings in most of the other
main players from <i>Northanger Abbey</i>, and each one gets a chance to show
us who they are – with no punches pulled for certain of them, as you could
imagine.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">What I
will address in my followup post before the end of January, which will, as
indicated above, contain major spoilers, are the several literary and
historical allusions which Diana deftly inserts beneath the surface of the
action, which those who follow me know is the stuff I love most about Austen.
Lots of food for thought beneath Diana’s elegant, delightful prose.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I do
not hesitate to recommend <i>The Bride of Northanger </i>to anyone who enjoys
high quality Austen-inspired fiction by an experienced purveyor of such goodness
at the top of her game! So head over to Amazon.com and get your copy now! Then
return here in a few weeks, and see if you saw some of the same stuff I did!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Cheers,
ARNIE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">@JaneAustenCode
on Twitter <o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-60832420930982988482019-12-31T17:36:00.000-05:002019-12-31T17:42:04.072-05:00‘They found Mary, as usual, deep in the study of thorough-bass and human nature’: Mary, the ‘well-tempered’ Bennet sister in Miss Bennet: Christmas at Pemberley (and elsewhere)<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
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<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; font-size: 11pt;">I recently saw </span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">Miss Bennet:
Christmas at Pemberley</i><span style="font-family: "times new roman" , serif; font-size: 11pt;">, and found the following rave review to be spot-on:</span></div>
<div class="MsoNoSpacing">
<u><span style="font-family: "times new roman" , serif;"><a href="https://www.portlandmercury.com/theater/2019/12/19/27663874/miss-bennet-christmas-at-pemberley-review-is-this-how-jane-austen-nerds-fall-in-love">https://www.portlandmercury.com/theater/2019/12/19/27663874/miss-bennet-christmas-at-pemberley-review-is-this-how-jane-austen-nerds-fall-in-love</a></span></u><span style="color: blue; font-family: "times new roman" , serif;"><span style="mso-spacerun: yes;"> </span></span><span style="font-family: "times new roman" , serif;">It’s
easy to understand why this play has been staged all over the country in both
2018 and 2019, and bids fair to become an annual national holiday tradition. </span><span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">And
it didn’t hurt that all the performers in this recently concluded Portland
production, but most of all Mary as played by the force of nature known as
Lauren Modica, were uniformly excellent.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">This is that rare sequel to a beloved
original which creates its own independent vivid dramatic reality, and doesn’t
rely on frequent winks at highlights from the original for its force and
appeal. The winks (as when Mary expresses snarky pride at her piano playing, her
playful riposte to the public humiliation she suffers at the hands of her sarcastic
father) are few and far between, and are carefully chosen for most telling
effect. Lauren Gunderson (who co-wrote this play with Margot Melcon) is justifiably
already famous as a very gifted young playwright; and, as a rabid Shakespeare
lover, I’m sorry I missed <i>The Book of Will </i>at OSF this past summer, and
hope it’ll have another run soon somewhere I can go see it).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">Miss Bennet</span></i><span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">
reflects the authors’ canny sense of plot construction and pace, and reliably
consistent, even (yes, I’ll say it) Austenesque, sharp wit. And I felt
throughout the play, in plot twists like the misdirected love notes, the subliminal
presence of Shakespeare’s <i>Much Ado About Nothing</i>. That demonstrates that
Gunderson and Melcon really did their homework – I can’t be offbase in inferring
that they recognized (as Sir Walter Scott was the first to suggest 2 centuries
ago) Shakespeare’s most beloved romantic comedy as a key source for Austen’s
most beloved romantic comedy; and their reboot of that “merry war”, but this
time with their own original sparring lovers, Mary and Arthur, is a worthy
successor. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">In choosing Mary Bennet as their
heroine, they avoid the trend of typical P&P fanfic sequels, which apply variations
to the original story, with little or no basis in the original text. Instead, Gunderson
and Melcon follow in the footsteps of Prof. Steven A. Scott, whose 2002 essay, </span><span style="font-family: "times new roman" , serif;">"Making room in the middle:
Mary in <i>Pride and Prejudice</i>”, was the first to make a case that there
was more to Austen’s Mary Bennet than met the eye; and then, in 2008, the late
Colleen McCullough’s <i>The Independence of Mary Bennet, </i>which presented
Mary as a heroine in a sequel that takes her far afield from Longbourn and
Pemberley<i>. </i>So, there’s both textual justification and precedent for
elevating Mary to the unlikely status as heroine.<i> </i><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">I also have a horse in the Alt-Mary race.
In 2010, I first presented my own alternative view of Mary, as one cog in what
I call the “shadow story” (or alternative fictional universe) of P&P that I
claim Austen <span style="mso-spacerun: yes;"> </span>deliberately created. The primary
means of access (to each of Austen’s six shadow stories) is by reading most of
the narration in the novel not as objective reality (as they’re generally
read), but as a subjective reality filtered and distorted through the proud, prejudiced
and therefore fallible mind of the focalizing heroine. So Eliza Bennet, in that
alternative plausible interpretation, is still a smart, but nonetheless essentially
clueless, young woman, from one end of the novel to the other. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">So I say it’s up to the reader to figure
out who the shadow Mary is, by avoiding getting trapped inside Elizabeth’s
often jealous, dismissive, uncharitable view of her. And here’s the crux. In
the shadow story of P&P, Mr. Darcy does not actually reform and repent from
his selfish ways after Elizabeth rejects his first proposal, he merely <i>pretends</i>
to do so. And in that dark alternative reality, I see Mary as a feminist, </span><span style="font-family: "times new roman" , serif;">selfless, </span><span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">would-be
protector of her elder sister Elizabeth; Mary is (like her creator, Jane Austen,
as characterized long ago by Mary Russell Mitford) the “sharp poker” sitting
quietly by the fire unnoticed, the sharp eyed observer who sees through Darcy’s
sham reformation, and tries her best, albeit unsuccessfully, to warn her
all-too-trickable Elizabeth off from his dangerous charms. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt;">So I believe it is Mary who
is the unnamed girl at Longbourn, who, when Darcy shows up there for the first
time near the end of the novel, and Elizabeth wonders whether he still has
feelings for her, whispers in Elizabeth’s ear the line in the novel you never
hear in any of the film adaptations:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt;">“The men shan’t </span><span style="color: black; font-family: "times"; font-size: 11.0pt;">come and part us, I am
determined. We want none of them; do we?” <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times"; font-size: 11.0pt;">But,
alas, Elizabeth by then has had her resistance so thoroughly shattered by Darcy’s
relentless manipulations and stage management, including her “unplanned” visit
to Pemberley, and his “accidentally” meeting her there, <span style="mso-spacerun: yes;"> </span>and so she does desperately, even cravenly,
want Darcy, and is deaf to Mary’s whispered warning.</span><span style="font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">As you might have guessed by now,
there are a dozen <i>other </i>major differences between the great love story
of P&P that everybody knows and loves, and the shadow story of that same
novel that I believe was Austen’s greatest cautionary tale. But the shadow
story is also a love story--- although n a very different way, in that it centers
not on Mary, but on another unlikely heroine - Charlotte Lucas <span style="mso-spacerun: yes;"> </span>(who, notably, is utterly absent from <i>Miss
Bennet: Christmas at Pemberley)</i> and <i>her</i> undying, <i>highly</i> romantic
love for <i>her</i> beloved, Elizabeth! But that is another story……. ;)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">So although Gunderson’s and Melcon’s
vision of Mary is a departure from the normative reading of Mary, it is not the
Mary of the shadow story I see. Let’s call it an “upgrade” of the Mary of the overt
story. Nonetheless, I don’t hold that as a flaw at all, because (as I said at
the start) <i>Miss Bennet: Christmas at Pemberley </i>is an authentic,
successful work of sophisticated romantic comedy entirely in its own right! In
other words, it would be great theater to watch and enjoy even if <i>Pride and Prejudice
</i>had never been written --- although, of course, it would surely not be
selling out theaters around the country if not for its unique pedigree!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">As to that independent reality of <i>Miss
Bennet</i>, perhaps the best aspect for me was that this sequel to <i>Pride and
Prejudice</i> presented us with an organic family dynamic that is convincingly
enacted by the ensemble. That Mary and Arthur are both engrossed by the
theories of Lamarck which preceded Darwin’s, in regard to the effect of the
environment on heredity, is, it is clear, a metafictional wink by the authors
at the complex family ecosystem which they have successfully set spinning onstage.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">[SPOILERS follow for the ending of <i>Miss
Bennet</i>, although not shocking spoilers, for those who have not seen the
play yet]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">[SCROLL A LITTLE MORE]<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">The end point of that evolutionary process
is reflected as the curtain falls on the unexpected, heart-warming harmony that
prevails among Lydia, Mary, Jane, and Elizabeth, and the men who belong to the
latter three. Lydia comes around to wanting to be a real sister, and in a surprisingly
plausible way; and Elizabeth and Lydia show newfound respect and admiration for
Mary.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">So it is not only that Mary emerges
from the wings of Austen’s novel to take center stage. It’s that we also see her
as the catalyst who sparks this positive revolution in the Bennet family. This
new Bennet family happy ending brings to mind a bit of wit in P&P about
Lady Catherine --- she who would, by self-profession, have been “a great
proficient” in music:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">“…whenever
any of the cottagers were disposed to be quarrelsome, discontented, or too
poor, she sallied forth into the village to settle their differences, silence
their complaints, and <i>scold them into HARMONY and plenty.</i>”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">In
short, Gunderson and Melcon are skilled enough as theatrical “composers” that
they did not need to scold <i>their</i> characters into plenty of familial
harmony, because that harmony arises organically, as it does in Austen’s
original, through an artfully constructed chain of plausible character
interactions. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">One last point, which I hinted at in
my Subject Line, before I close. Being a hardcore pun-nerd, I was particularly
struck by one early exchange between Mary and her future husband, Arthur, which
I now quote here (no, I don’t have perfect recall, I found an online version of
the play text in Google Books!). This is the moment when the leading man
haltingly begins to court the leading lady:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">ARTHUR:
….And. That is to say…I do hope to hear more from you. You are so very full of SONG.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">MARY:
Sometimes I am. And sometimes I am full of things much less pretty.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">ARTHUR:
You see to me…enough of.. prettiness.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">MARY: <b><i>I
mean my TEMPER. I know I have one and I have yet to learn how to MANAGE it.</i></b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">ARTHUR:
The Beethoven’s a good start.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "times new roman" , serif;">She
smiles.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">MARY: <b><i>You
are wittier than you think, Mr. de Bourgh.</i></b><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">ARTHUR:
<b><i>I don’t know if one can take credit for unconscious wit.<o:p></o:p></i></b></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">MARY:
And yet people take credit for things far less compelling. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt;">While watching, I asked
myself why Mary smiled, and what “wit” Arthur was so modest about? Upon quick reflection,
I found this to be a subtle pun, as Mary’s struggle to manage her own “temper” surely
relates to the ‘well <b><i>tempered</i></b> clavier’ that Mary repeatedly plays
during the play, during her Beethovenian struggles with her tumultuous feelings.
(Here’s a link to a great explanation of what this musical term means: <a href="https://www.piano%20tuners.org/edfoote/well_tempered_piano.html">https://www.piano
tuners.org/edfoote/well_tempered_piano.html</a><span style="mso-spacerun: yes;">
</span>)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">That got me thinking…when I got
home, I checked, and saw that the word “temper” is a subtle but pervasive keyword
(get it?) in P&P (as it is in all of Austen’s novels --- not surprising given
that there are major characters who play the piano in 4 of the canonical 6!),
in that it refers to the contrasting tempers of certain characters, most
notably the unforgiving temper of Mr. Darcy, versus the easy, pliant tempers of
Jane Bennet and Mr. Bingley.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">And so, with that Bachian pun in
mind, I had to laugh at the following early assessment of Mr. Darcy by
Elizabeth Bennet as she learns about him from Mr. Wickham, which I now read
with new eyes:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">“I
should take him, even on my slight acquaintance, to be an ILL-TEMPERED
man.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">I.e., not
a “<i>well</i>-tempered” man at all! And that’s another way of stating the fork
in the road that divides the paths to the overt story and the shadow story. In
a nutshell, the question is whether Darcy’s character will be, or not be, brought
into harmony after Elizabeth rejects him the first time, or will it instead remain
in dark dissonance.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">Given the profundity of the musical
metaphors that echo throughout the entirety of P&P (most of all in the
salon at Rosings when Darcy’s and Elizabeth’s merry war of words about her
piano playing and his people skills reaches a peak), we can also read, with new,
admiring eyes, Elizabeth’s earlier, sarcastic snap judgment on her sister:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif; mso-fareast-font-family: "Times New Roman";">‘They found Mary, as usual, deep in
the study of thorough-bass and human nature’<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">When we
recognize that it was Jane Austen herself who was usually deep in the study of
these same endlessly fascinating subjects, including most of all the difficulty
of knowing the hearts of other people and ourselves, it is fitting that we see
Mary as a self-portrait more in harmony with her creator than her more flamboyant
sister Elizabeth.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">Cheers,
ARNIE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , serif;">@JaneAustenCode
on Twitter<o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-39211950860913986962019-12-26T16:25:00.001-05:002019-12-26T16:25:15.379-05:00The Nabokovian Gravity of Jane Austen’s Subtle Relative Puns in Mansfield Park
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<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;">In the
first enacted scene of MP in Chapter 1, we read an exchange between Mrs. Norris
and Sir Thomas about the pros and cons of having Fanny grow up in the Bertram
household around Tom and Edmund:</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;"> </span>“…But breed her up with them from this time,
and suppose her even to have the beauty of an angel, and she will never be more
to either than a sister.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“There
is a great deal of truth in what you say,” replied Sir Thomas, “and far be it
from me to throw any fanciful impediment in the way of a plan which would be so
consistent with<i> the RELATIVE SITUATIONS of each.</i>”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">On the
surface, Sir Thomas, by “relative situations”, refers to Tom and Edmund being
higher-born Bertrams, whereas Fanny is a lower-born Price, <i>relative </i>(or
compared) to the “situations” (within the family hierarchy) of her cousins. But
the pun arises from the subject which is being discussed --- the Bertram boys
and Fanny are, literally, “relatives” by reason of that same “situation”! So,
Fanny is, in effect, a relatively low relative! <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">This especially
reminds me of the pun I recently wrote about in <i>Emma</i>, (which I found
after my fellow Austen sleuth Diane Reynolds noted the pun involving “reign” and “rain” in Mr. Elton’s charade):<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“The
weather continued much the same all the following morning; and the same
loneliness, and the same melancholy, seemed to reign at Hartfield—but in the
afternoon it cleared..” <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">This is
truly the high art of hiding in plain sight. But, back to MP-- here’s the best
part -- Austen revisits this <i>identical</i> pun at the very end of the novel,
in Chapter 48, again with Sir Thomas, again thinking about a subordinate female
relative (but this time, his daughter, Maria). This makes, in effect, a literal
pair of punning “bookends” on the word “relative”!: <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“As a
daughter, he hoped a penitent one, she should be protected by him, and secured
in every comfort, and supported by every encouragement to do right, <i>which
their RELATIVE SITUATIONS admitted</i>; but FARTHER than that he
could not go. Maria had destroyed her own character, and he would not, by a
vain attempt to restore what never could be restored, by affording his sanction
to vice, or in seeking to lessen its disgrace, be anywise accessory to
introducing such misery in another man’s family as he had known himself.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">This
passage requires more thought to decipher accurately than the first one. What
exactly is Sir Thomas thinking? On the surface, it seems to me, he’s thinking
of the totality of the <i>relative</i> disparity in both power and
respectability between a father (and that’s why I also put the word ‘farther”
in all caps!) with supreme familial authority who believes himself to be
morally upright, on the one hand, and a daughter, Maria, who is in a weak and
disgraced <i>situation</i>, <i>relative </i>to his, as an adulterous wife in
need of his mercy to bail her out and, in his mind, to give her a courtship reboot.
And the pun arises, as in Chapter 1, from the same subject being discussed – i.e.,
Sir Thomas and Maria are, obviously, in a “relative situation”, because they
are father and daughter – they are relatives who are relatively different in
power and morality!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And,
the following sentence about Maria having destroyed her own character further
subtly emphasizes the parallel to the Chapter 1 passage, because the “bridge
too far” for Sir Thomas would be to follow Mrs. Norris’s advice and receive
Maria back home, thereby giving her a second shot at landing a rich husband
under his sponsorship. He clearly is thinking of the contrast between the
success of his having introduced Fanny into his own family in Chapter 1, and
the misery he might cause if he sponsored Maria as an eligible belle to be
introduced into another man’s family in the aftermath of Chapter 48!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Great
stuff, right?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">After a
bit of online searching, I cannot find any prior sighting of this pun in the
usual databases, and that is, perhaps, not surprising, given that Austen does
nothing to telegraph this pun, to make it obvious. And actually, what I love
about Austen’s puns -- which I have found are everywhere in her writing -- is
that she invariably shows impeccable tact and taste in her paranomosia. She never
pushes them in the reader’s face, or overdoes them – and yet, like the best
crossword puzzle clues, once you see them, you groan and smack your forehead,
because they were always there, hiding in plain sight.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">My
favorite from her letters, which I first spotted in July 2008, is this LOL gem:
<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“As
for Mr Floor, he is at present rather low in our estimation”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">What
makes it great is that it is invisible to those with a blind eye for puns, such
as Deirdre Le Faye, whose Biographical Index entry for “Mr. Floor” in her 4<sup>th</sup>
edition still reads, as it did in her 3rd: <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">"Tradesman
in Southampton--perhaps a dyer?"<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">She may
as well have included an entry for “Santa Claus”: “Itinerant Peddler & p/t
Chimney Sweep”!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And
even when Austen, on rare occasion, <i>does</i> explicitly flag a pun, as she
does with Mary Crawford’s infamous “rears and vices”, Austen, through Mary’s
teasing voice, explicitly winks at it – so as to invite the reader to try to interpret
its cryptic meaning – and in this case, I’ve long maintained that Mary has a
deadly serious message hidden beneath the smile – she’s hinting to Fanny at the
‘price’ William will pay (for his promotion) – he’ll have to offer up his
“rear” to satisfy the “vices” of Admiral Crawford’s circle.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">A
Possible Sighting After All?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Even
though I didn’t find any <i>explicit</i> prior scholarly sighting of JA’s pun
on “relative” before myself, I have my suspicions that I’ve been preceded in
this discovery by a sharp elf who read MP many decades ago. I refer to none
other than Vladimir Nabokov, who, it is well known, was rather over-the-top and
Shakespearean in the frequency and elaborateness of his own punning. For
example, Humbert Humbert refers to Lolita (real name Dolores Haze) as “my
dolorous and hazy darling”. Throughout the entire novel, in fact, Humbert (and
perhaps also Nabokov?) reveals himself as too clever by half in his
narcissistic compulsive, ticcing wordplay.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">What I
find intriguing is that, in his famous lecture on MP, Nabokov actually quotes
and briefly discusses the above Chapter 1 speech by Sir Thomas, as he describes
how Austen sometimes achieves “characterization through directly quoted speech”:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“A good
example is to be found in Sir Thomas’s speech: [the first “relative situations”
quotation]. He is speaking of the plan to have his niece, Fanny, come to
Mansfield Park. Now, this is a ponderous way of expressing himself…”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Surprisingly,
even though Nabokov’s eye is sensitive enough to catch the awkward
ponderousness of Sir Thomas’s speech pattern, he seems to fail to spot the pun,
and therefore seems to fail to realize that Sir Thomas’s awkward syntax also provides
a better set-up for the “relative situations” pun. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Bu what
if Nabokov didn’t miss that pun after all? I was already aware, from research I
had last worked on in 2015, that MP is a key allusive source for Lolita,
including a punning connection relative (ha ha) to the word “grave”. For
example:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“…[Lolita’s]
mother was hospitalized, that the situation was GRAVE, that the child should
not be told it was GRAVE…”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Per Jessie Thomas Lokrantz,
in her dissertation <i>The Underside of the Weave: Some Stylistic Devices Used
by Vladimir Nabokov </i>(1973), </span><span style="background: #F8F9FA; color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman";">“</span><span style="background: white; color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman";">Humbert and the readers know that Charlotte is already dead
and therefore a new meaning is given to the word ‘grave’. The irony of the
situation is emphasised by using the word twice.”</span><span style="background: white; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman";">Nabokov
repeats “grave’ and ‘gravity’ (and even “gravel”) many times in <i>Lolita </i>---and
guess what? <span style="mso-spacerun: yes;"> </span>the words “grave” and
“gravity” are also used much more frequently in MP than in all of Austen’s
novels (except for S&S, which comes close) -- and the main reason is that
these particular words are used most often to describe Sir Thomas in MP, and
Colonel Brandon in S&S, respectively. </span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">I suggest this is part of a delicate
mosaic of wordplay, by which Nabokov is connecting Humbert Humbert, his witty
pedophile, to Sir Thomas Bertram, the ponderous patriarch (and I claim, also, pedophile)
of Mansfield Park. In 2015, I went through a number of echoes of MP that I see
in <i>Lolita, </i>which suggest that Nabokov recognized the darkest,
Rozema-esque subtext of MP, with Sir Thomas as a sexual predator, long before
anyone else.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">In that vein, I close with an
extended quotation from <i>Lolita</i>, which discusses the legal aspects of the
ambiguous relationship between Humbert and Lolita – reminding us once again of
that Chapter 1 tete a tete between Sir Thomas and Mrs. Norris. That ambiguous
relationship, you’ll recall, involves a middle aged man who assumes the role of
a quasi-father to a pubescent girl– and, also as I claim re Sir Thomas as well
as Humbert, sexually abusing his young vulnerable, manipulable “relative”. Just
think about how Sir Thomas responds when he returns to Mansfield after a long
absence, and takes pointed notice of Fanny’s body.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">As always, Humbert is waxing
verbosely (albeit with a style that utterly eludes Sir Thomas) about his one
and only topic – Lolita. Note the word that he focuses on, and see if you also spot
the other winks at Jane Austen that I believe Nabokov hid in this passage --
two ‘easter eggs’ of appreciation to the author (and that author’s heroine) who
particularly inspired him in writing <i>Lolita</i>:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“At
this point I have a curious confession to make. You will laugh--but really and
truly I somehow never managed to find out quite exactly what the legal
situation was. I do not know it yet. Oh, I have learned a few odds and ends.
Alabama prohibits a guardian from changing the ward's residence without an
order of the court; Minnesota, to whom I take off my hat, provides that <i>when
a RELATIVE assumes permanent care and custody</i> of any child under fourteen,
the authority of a court does not come into play. Query: is the stepfather of a
gaspingly adorable pubescent pet, a stepfather of only one month's standing, a
neurotic widower of mature years and small but independent means, with the
parapets of Europe, a divorce and a few madhouses behind him, <i>is he to be
considered a RELATIVE</i>, and thus a natural guardian? And if not, must I, and
could I reasonably dare notify some Welfare Board and file a petition (how do
you file a petition?), and have a court's agent investigate meek, fishy me and
dangerous Dolores Haze? The many books on marriage, rape, adoption and so on,
that I guiltily consulted at the public libraries of big and small towns, told
me nothing beyond darkly insinuating that the state is the super-guardian of
minor children. Pilvin and Zapel, if I remember their names right, in an
impressive volume on the legal side of marriage, completely ignored stepfathers
with motherless girls on their hands and knees. My best friend, a social
service monograph (Chicago, 1936), which was dug out for me at great pains from
a dusty storage recess by an innocent old spinster, said "There is no
principle that every minor must have a guardian; the court is passive and
enters the fray only when the child's situation becomes conspicuously
perilous." A guardian, I concluded, was appointed only when he expressed
his solemn and formal desire; but months might elapse before he was given
notice to appear at a hearing and grow his pair of gray wings, and in the
meantime the fair demon child was legally left to her own devices which, after
all, was the case of Dolores Haze. Then came the hearing. A few questions from
the bench, a few reassuring answers from the attorney, a smile, a nod, a light
drizzle outside, and the appointment was made. And still I dared not. Keep
away, be a Mouse, curl up in your hole. Courts became extravagantly active only
when there was some monetary question involved: two greedy guardians, a robbed
orphan, a third, still greedier, party. But here all was in perfect order, and
inventory had been made, and her mother's small property was waiting untouched
for Dolores Haze to grow up. The best policy seemed to be to refrain from any
application. Or would some busybody, some Humane Society, butt in if I kept too
quiet?” <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: #F8F9FA; color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Did you see them? <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif;">“My best friend, a
social service monograph (Chicago, 1936), which was dug out for me at great
pains from a dusty storage recess by an innocent old spinster, said "There
is no principle that every minor must have a guardian; the court is passive and
enters the fray only when the child's situation becomes conspicuously
perilous."<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif;">That “innocent old
spinster” would be Jane Austen, the (anything but) innocent old spinster, whose
“monograph” Nabokov “dug out at great pains from a dusty storage access”; and
Fanny Price, whose self-protective motto at Mansfield Park could have been “Keep
away, be a Mouse, curl up in your hole.” – and hope that neither Sir Thomas nor
Henry Crawford will make a hole in your heart!</span><span style="background: #F8F9FA; color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: #F8F9FA; color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Cheers, ARNIE<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: #F8F9FA; color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">@JaneAustenCode on Twitter</span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-8313737218569282032019-12-18T15:58:00.003-05:002019-12-18T15:58:48.995-05:00The awe-inspiring “architecture” of Northanger Abbey
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Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
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<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman", serif; font-size: 11pt;"> I’ve now had time to read reread, and think about Collins Hemingway's excellent article, “</span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">Northanger
Abbey</i><span style="font-family: "Times New Roman", serif; font-size: 11pt;">: The Bridge to Austen’s Mature Works—and More” in the new </span><i style="font-family: "Times New Roman", serif; font-size: 11pt;">Persuasions
Online</i><span style="font-family: "Times New Roman", serif; font-size: 11pt;">:</span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"><a href="http://jasna.org/publications/persuasions-online/volume-40-no-1/hemingway/">http://jasna.org/publications/persuasions-online/volume-40-no-1/hemingway/</a>
). <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">As usual
with Collins's scholarly work, it’s well-researched, clearly written, comprehensive,
and thought provoking, and he provides lots of specific textual evidence for his more general claims. That’s why, as with our disagreement a few months back
about the significance of the quadruple-coincidence structure of P&P, I derive
great value from contrasting his opinions with my own, even though I profoundly
disagree with some of with his major conclusions. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Hr asks all the right questions, and for me that’s what makes even a disagreeing scholar’s
work like his well worth my study! In particular, as you’ll see, I find it fascinating
that, despite our shared predilection for “architectural” analysis of Austen’s
writing, we, with our opposite assumptions about Jane Austen’s agenda as an
author and her belief system as a person, often arrive at opposite conclusions.
<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Collins:
“Gothic elements set the edge and form the building blocks of the beginning of
the work. A gothic parody opens the story, which is always the hardest
step for every writer, then returns from time to time as part of a unifying
framing device. Further, <i>the love story </i><em><span style="color: black; font-style: normal;">grows out of</span></em><i> the
gothic</i>, in two senses. First, Catherine’s interactions with Henry
Tilney intersect at times with the gothic themes, which would not have been
possible had the gothic been tacked on. Second, <i>the relationship
eventually moves beyond the gothic humor<b>.</b></i> To follow the Southam-Emden
interpretation, Austen must begin with a mature relationship story and add less
mature gothic sidebars. The book ripens in the opposite direction. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I agree
that gothic elements were there from the start, but I don’t believe Jane Austen,
even in her first version of what eventually became NA, ever intended to just write
a gothic parody. Let me be more precise – I believe JA did always intend to
write what <i>appears</i> to be a gothic parody. However, I believe she <i>also</i>
always intended that apparent gothic parody to function as a mask, thinly
concealing her passionate <i>anti-parody</i> --- indeed, JA’s celebration and defense
--- of the gothic –and not only the female gothic of Ann Radcliffe’s <i>Udolpho</i>,
but the male gothic of Lewis’s <i>Monk</i>, too! <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I’ve made
that point repeatedly, – I’ve said it at the 2009 Chawton House
conference, the 2010 JASNA AGM, and what must be a hundred times the past
decade in this blog.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">When I do,
I invariably quote Henry Tilney’s famous castigation of Catherine’s suspicions
about what General Tilney did to his wife as the epicenter of that anti-parody –
and then I illustrate how Mrs. Tilney, metaphorically, represents all the
English wives who died in childbirth after being “murdered” by being “poisoned”
by their husbands – but all the established authorities turned a blind eye to
this widespread and long-lasting plague.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">So I
claim that, in the anti-parody, which gives the Gothic novel credit for whispering
an otherwise forbidden, unspeakable critique of one key aspect of the English patriarchy,
it is <i>Henry </i>who is the true satirical butt of that speech. It is he who
wakes up late in the novel and realizes that, yes, Gothic domestic horrors were
indeed happening every day in Merrie Olde England, and no one lifted a finger
to protect the wives who were victimized, because everyone thought it was “normal”.
The Gothic arose to address that crisis, and it is to Henry’s credit that in
the end, he listens and learns – and that is what inspires him to finally end
his indecision, like Hamlet, and rise up against his father’s tyranny, and to
marry Catherine and also liberate his sister.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Collins:
“The gothic framing device, however, has an archeological interest. It
does not encompass all of the novel, or even most of it. After setting
the book in motion, it largely disappears into the background. It’s like the
foundation of an ancient church discovered to be supporting the walls of the
modern church built over it. From the remaining outlines of the original,
one can trace the shape of the earlier and humbler edifice. A comparison
would be to St. Peter’s Basilica in the Vatican. One can see not only the
underground foundations of the preceding church, built by Constantine; one can
go a step lower to discover what the Vatican says is the original burial tomb
of St. Peter himself. In the reverse, starting with the origins, we begin
with a small but respectable local necropolis; over this structure is built a
much larger, more impressive building; over that one comes the final
magnificent basilica of today. So it is with <em><span style="color: black;">NA</span></em>. A literary excavation reveals the
presence of possibly 3 different periods of construction of the novel.” <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I
admire the ingenuity of Collins's reverse engineering of the novel, Collins, and
find merit in much of it. However, as I stated earlier, I believe that JA from
the start always intended an anti-parody of the gothic, whereas hr seemd to be
saying that she grew out of an early simplistic gothic orientation during the
evolution of the novel. I believe JA was already of strong radical feminist
leanings as she wrote her juvenilia as a teenager – in particular already under
the positive influence of Wollstonecraft when she wrote her <i>History of
England </i>and the first version of <i>Catharine, or the Bower </i>-- but what
changed is that JA became progressively more and more sophisticated and ingenious
in her strategy for finding literary structures in which she could best express
those feminist ideas, and keep them just enough under the radar in order to get
published (more about that last point, below).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">But
more important, I see layered metonyms in the “architecture” of the novel.
I.e., ‘Northanger Abbey” is the name of the abbey that Catherine visits, but it
is also (and I believe this was JA’s own call, not her family’s) the title of
the novel – and so, at every step in Catherine’s sleuthing around the physical
abbey, Jane Austen is implicitly inviting her knowing readers to do likewise
with the novel itself – to treat all the winks and nods and apparent narrative
exaggerations as clues to be followed <span style="mso-spacerun: yes;"> </span>--metaphorically,
as virtual chests and doors (including “trapdoors”) to be opened. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And,
just as I claim that in the anti-parody it is Catherine who was imaginative and
perceptive enough to follow her Gothic instincts, so too it is the reader who opens
those forbidden doors who is rewarded in the end with access to the “second
story” (pun intended) of the novel – the shadow story, which is the story of
the third layer of the overarching metonym of NA – which is Mrs. Tilney herself.
<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">So I’m
saying that the physical abbey not only represents the novel, it also
represents Mrs. Tilney – and in Catherine poking around the abbey for clues,
she is in a deep and poignant sense poking around in that late lady’s body --
which is part of the explanation for the over the top sexual innuendo of Catherine’s
late night Gothic ruminations and examinations, such as:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;"> </span>“Again, therefore, she applied herself to the
key, and after moving it in every possible way for some instants with the
determined celerity of hope's last effort, the door suddenly yielded to her
hand: her heart leaped with exultation at such a victory, and having thrown
open each folding door, the second being secured only by bolts of less wonderful
construction than the lock, though in that her eye could not discern anything
unusual, a double range of small drawers appeared in view, with some larger
drawers above and below them; and in the centre, a small door, closed also with
a lock and key, secured in all probability a cavity of importance.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"><o:p> </o:p></span><span style="font-family: "Times New Roman", serif; font-size: 11pt;">Because
in the end, the Gothic tragedy of rampant serial pregnancy and death in
childbirth in JA’s real world in England was (and, sadly, remains a polarizing
issue in 21</span><sup style="font-family: "Times New Roman", serif;">st</sup><span style="font-family: "Times New Roman", serif; font-size: 11pt;"> century America) all about “ownership” of the female
body – is it her own body, or does it “belong” to her husband or the state, if
she is married, or to the “courting” predator like John Thorpe, if not? Henry
VIII seized, vandalized, and parceled all the physical abbeys off to cronies –
and that is exactly what I believe JA is saying has been done in her world to all
female bodies, except for a very fortunate few.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Novel/building/female
body, all thematically in synch – this is the awe-inspiring architecture of
this “slight” novel by Jane Austen that I see.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Collins:
“When Catherine goes with her neighbors, the Allens, to Bath, <i>she finds the
gothic everywhere she looks.</i> She exchanges commentary with her new
friend Isabella Thorpe about Radcliffe’s book. “‘While I have <em><span style="color: black;">Udolpho</span></em> to read . . . nobody
could make me miserable,’” Catherine says. <i>She compares Beechen Cliff
above Bath with the vistas of </i><em><span style="color: black; font-style: normal;">Udolpho</span></em><i>’s France and makes reference to three countries
being as “fruitful in horrors” as </i><em><span style="color: black; font-style: normal;">Udolpho</span></em>. These are all views she has read
about in gothic novels, not seen. Eight other “horrid” novels are mentioned,
including <em><span style="color: black;">The Monk</span></em>.</span><a href="http://jasna.org/publications/persuasions-online/volume-40-no-1/hemingway/#Note-1"><span class="superscript"><sup><span style="color: #88434b; font-family: "Times New Roman",serif; font-size: 7.5pt; text-decoration: none; text-underline: none;">1</span></sup></span></a><span style="font-family: "Times New Roman",serif;"> “<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">And I
say that Catherine finds the gothic everywhere she looks, because JA’s
overarching point is that domestic gothic horror <i>was in fact everywhere</i>
in everyday England! It’s like that memorable comic scene from <i>High Anxiety </i>when,
even as Mel Brooks, who is intensely phobic, speaks about those who wish to
harm him, we see Harvey Korman behind him actually making menacing gestures! Catherine
sees the Gothic everywhere, and it is a sign of her “greatness of mind” that
she does so, when the cynical Henry is the one who is blind to it. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">So
where Collins sees writerly inexperience, I see a very much in control Jane Austen
deliberately hamming it up in her narrative voice. She deliberately and
parodically adopts an exaggerating narrative voice that seems like beginner’s
writing, leading the unsuspecting reader down the garden path of dismissal. Whereas,
each of these shout-outs to the Gothic is meaningful, in terms of the domestic
Gothic horror of English life. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">In
particular, as I pointed out during the Q&A for one of the breakout speakers
at the recent JASNA AGM, I see the proto-Gothicism of Shakespeare’s <i>Romeo
and Juliet</i>, set in Verona not far from the action of <i>Udolpho, </i>hidden
in plain sight everywhere. And JA in particular must have LOL’ed like mad when
she wrote this line in NA:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“Murder
was not tolerated, servants were not slaves, and neither poison nor sleeping
potions to be procured, like rhubarb, from every druggist.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">JA may as
well have written in the margin, in letters of gold, “Take a close look at <i>ROMEO
AND JULIET</i>, and figure out what it has to do with this novel!!”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Collins:
“It’s even possible that Crosby bought <em><span style="color: black;">Susan</span></em> specifically
to bury it—a practice known in modern parlance as “catch and kill.”
Margie Burns, in a 2017 article, proposes that Crosby pulled <em><span style="color: black;">Susan </span></em>because in it Austen unknowingly
criticized two of Crosby’s publishing partners. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I had
to laugh when I read this reference to “catch and kill”, because of what I wrote on December 14 in this blog (and, obviously, therefore,
two days <i>before </i>I read the above excerpt in Collins's article late Sunday
night!). <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">I was reacting
to Devoney Looser’s recent TLS piece about the discovery by her (also independently
made by Elisa Beshero-Bondar) of Mary Russell Mitford’s 1823 mock letter about
Jane Austen. Looser had noted that Mitford’s mock letter was dated April 1, and
I wondered whether this was Mitford’s sly allusion –based on Cassandra Austen’s
perhaps having informed her -- to Jane Austen having previously written not one
but two April Fool’s Day letters! Here’s what I wrote:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“…consider
her April 1, 1809 letter from “Mrs. Ashton Dennis” (Miss Austen Denies?), in
which JA demands that Crosby – who perhaps was involved in some sort of “catch
and kill” scheme? --- publish NA, and further offers to produce another copy of
same if somehow Crosby had mislaid the original submitted in 1798. And note in
particular that the 1809 letter had to do with publication of <i>Northanger Abbey</i>,
which is at the center of Mitford’s mock letter…”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"> I had read Margie Burns’s 2017 article last year, probably when Collins did, and we
both, sensitized by high profile current events to the phrase “catch and kill”,
made that same association, as we read Burns’s theory for why Crosby would “catch
and kill” <i>Northanger Abbey</i>. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">However,
and apropos of our disagreement about NA as parody vs anti-parody, I
disagree with Burns as to the motive. I.e.,
I believe this was a “catch and kill” that was desired, <i>not </i>by two of
Crosby’s publishing partners, but by JA’s aunt Leigh-Perrot herself, <span style="mso-spacerun: yes;"> </span>precisely because that <i>grande dame</i> of
the Austen family did not wish NA to ever see the light of publishing day! <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">But why
would JA’s own aunt put the kibosh on her niece’s first published novel? I
believe the conservative wing of the larger Austen family, led by her
dictatorial aunt, was already very well aware of JA, even at age 22, as the dangerous
feminist sharp poker/observer Mary Russell Mitford so shrewdly observed JA to
be. And, even more specifically, Aunt Leigh-Perrot, if she had been allowed to
read <i>Susan</i>, was smart enough to see herself being sharply lampooned in
the foolish character of Mrs. Allen, as I speculated 9 years ago:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"><a href="http://sharpelvessociety.blogspot.com/2010/11/mrs-allen-aunt-leigh-perrot-and-wife-of.html">http://sharpelvessociety.blogspot.com/2010/11/mrs-allen-aunt-leigh-perrot-and-wife-of.html</a><o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Collins:
“<i>Simply put, there’s a very good chance that </i><em><span style="color: black; font-style: normal;">NA</span></em><i> began as one of
the longer, later pieces of Austen’s outrageous juvenilia.<b> </b></i>
Over the next seven or eight years—and possibly longer—she developed the final
novel in major, separate stages. The original juvenilia would have been
similar to <em><span style="color: black;">Love and Freindship</span></em>, <em><span style="color: black;">Lesley Castle</span></em>, <em><span style="color: black;">Evelyn</span></em>, and <em><span style="color: black;">The Bower</span></em>.</span><a href="http://jasna.org/publications/persuasions-online/volume-40-no-1/hemingway/#Note-2"><span class="superscript"><sup><span style="color: #88434b; font-family: "Times New Roman",serif; font-size: 7.5pt; text-decoration: none; text-underline: none;">2</span></sup></span></a><span style="font-family: "Times New Roman",serif;"> The first three feature
gothic parody; the last, a tentative first step at a relationship story.
That is, they collectively represent awkward, early versions of what appears
in <em><span style="color: black;">NA</span></em>. Sensing its
potential, Austen developed this juvenile production from the fragmentary
beginning to a mid-length work with mature themes. Afterward, she kept
updating and revising the text until it became her first completed
novel. The nature of this development accounts for some of the unevenness
of both the structure and the quality of the writing.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;"> In
preparation of my proposal to speak at the 2020 JASNA AGM, I did quite a bit of
study of <i>Catherine or the Bower</i>, and I too, believe, NA could have been
inspired by COTB, for much the same reasons Collins outlined so well in his speculations. But I would add one speculation of my own -- that both works are
particularly concerned with sexual danger to women. However, whereas JA was
able to alter the ending of <i>Persuasion</i> while preserving all that came
before it, with minor changes, I believe she concluded in the late 1790s that she
had to scrap COTB entirely, and start over this time with her “Catherine” in
Bath (where JA, we know from her letters, visited in 1798, and perhaps earlier
as well) instead of in her country village of origin.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Again, great
work by Collins Hemingway, I will look forward to his book, which he, in your admirable professionalw</span><span style="font-family: "Times New Roman", serif; font-size: 11pt;">ay,
will surely deliver into the world before too far in the future.</span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Cheers,
ARNIE<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">@JaneAustenCode
on Twitter<o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0tag:blogger.com,1999:blog-1436417288060370638.post-62411805720475530012019-12-16T00:07:00.001-05:002019-12-16T00:07:40.053-05:00Happy Birthday Jane Austen (244th) & Mary Russell Mitford (232nd)! (and Jane Fisher’s sister Kitty)
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<span style="font-size: 11pt;">[NOTE: Since
I first wrote my first post yesterday [ </span><a href="http://sharpelvessociety.blogspot.com/2019/12/a-proposed-extension-of-devoney-loosers.html">http://sharpelvessociety.blogspot.com/2019/12/a-proposed-extension-of-devoney-loosers.html</a> ]<span style="font-size: 11pt;"> about Mary Russell Mitford’s 1823 mock
letter about Jane Austen, I've listened to Devoney Looser's recent appearance
on the TLS podcast. In it, Looser said that only after she had written her TLS
piece detailing her discovery, did she then learn that Jennie Batchelor had
spoken at Chawton House back in 2017 about that same Mitford 1823 mock letter. Looser
has thus very properly acknowledged the earlier work of Batchelor, who apparently
has taken a different tack, and has a book chapter in process that focuses on
how Mitford's letter relates to the famous Defence of the Novel in </span><i style="font-size: 11pt;">Northanger
Abbey</i><span style="font-size: 11pt;">.]</span></div>
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<br /></div>
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<span style="font-size: 11.0pt;">Also since I wrote my first
post, I’ve dug up some more goodies, which make the Mitford allusion to Austen
that much more interesting, remarkable, and personal.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 11.0pt;">DECEMBER 16:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 11.0pt;">It is serendipitous that this
second post of mine on this topic of Austen and Mitford is “born” on December
16, which is the birthday of both of these literary English gentlewomen! As my
Subject Line indicates, Mitford was 12 years younger than Austen, and so she
was only 26 when she read P&P, and wrote this “pert” and “worldly” review of
P&P in a late 1814 letter:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">“The
want of elegance is almost the only want in Miss Austen […] It is impossible
not to feel in every line of P&P, in every word of Elizabeth, the entire
want of taste which could produce so pert, so worldly a heroine as the beloved
of such a man as Darcy. Wickham is equally bad. Oh! They were just fit for each
other, and I cannot forgive that delightful Darcy for parting them. Darcy should
have married Jane. He is of all the admirable characters the best designed and
the best sustained.”<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">It’s interesting
to wonder about what might have changed for Mitford in her assessment of JA
between then and 1823 – or was it just that the character of Elizabeth struck
her the wrong way –and how interesting that she used the same word, ‘pert’, to
describe Elizabeth, as Sir Walter Scott used in his 1816 review of Austen’s
writing.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "Times New Roman",serif;">Perhaps
the following comment in a June 1819 letter gives a clue to a possible
evolution in Mitford’s literary taste: <span style="background: white; color: black; mso-color-alt: windowtext;">'[T]he greatest pleasure in reading is to be
critical & fastidious, & laugh at, & pull to pieces.' </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="background: white; color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">If any writing would
meet the test of that sort of intense close reading, it would be Jane Austen’s,
and it certainly seems that reading the last 4 published Austen novels, which I
believe she did, by 1823, did not disappoint Mitford, and apparently turned her
into a hardcore proto-Janeite.</span><span style="font-family: "Times New Roman",serif;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 11.0pt;">JANE FISHER’S SISTER KITTY:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman",serif;">In her
TLS article Looser wrote: <span style="background: white; color: black; mso-color-alt: windowtext;"> </span><span style="background: white;"><o:p></o:p></span></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; mso-color-alt: windowtext;">“</span><span style="font-family: "Times New Roman",serif;">If we believe that Jane Fisher is
the creation of Mitford, and if we conclude that the letter’s contents are
based on Mitford’s poking fun at her own author-envy, then it’s only a small
leap to conclude that Miss Hinton’s reports stand behind the mock-letter, too<i>.
Hinton could be the real-life inspiration for Kitty Fisher’s fictional,
portrait-making friend</i>, the one who portrays Austen’s plump face, genius
nose, and hair and chin resembling — Jane Fisher’s. (Or Mitford’s? Where do
fact and fiction meet?)”<o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">What Looser did not catch, is
that any contemporary reader of Mitford’s mock letter who realized that Jane
Fisher’s unmarried sister was therefore Kitty Fisher, would immediately think
of one of the most notorious English courtesans of the 18<sup>th</sup> century!:
<a href="https://en.wikipedia.org/wiki/Kitty_Fisher">https://en.wikipedia.org/wiki/Kitty_Fisher</a><o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">Perhaps you wonder if this is
just a coincidence, in an England which had more than a few Kitty Fishers in
it. Well, if you want some evidence that Mitford knew exactly who the
historical Kitty Fisher was, let me take you to an excerpt from a short story called
“Cobus Yerks” written by Mitford in 1832 (9 years after she wrote the mock
letter) as part of an anthology entitled <span style="mso-spacerun: yes;"> </span><i>Lights and Shadows of American Life</i>. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">As you read it, please take note
not only of the two references to “butterflies” (as in Mitford’s famous
quotation of her mother’s harsh judgment on the young Jane Austen), but also the
reference not only to “the renowned Kitty Fisher”, but also to Constantia
Phillips. She was another famous real life courtesan from the mid-18<sup>th</sup>
century, whose memoir was woven into a complex intertextuality with Richardson’s
<i>Clarissa </i>and <i>Sir Charles Grandison, </i>having to do with the plight
of a single woman after she is raped (which was the cruel fate suffered by the very
young real life Constantia Phillips):<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">“Silent
was the sonorous harmony of the big spinning-wheel, silent the village song,
and <i>silent the fiddle of Master Timothy Carty, who passed his livelong time
in playing tuneful measures, and catching beetles and BUTTERFLIES. <o:p></o:p></i></span></div>
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<i><span style="font-family: "Times New Roman",serif;">I
must say something of Tim, before I go on with my tale.</span></i><span style="font-family: "Times New Roman",serif;"> Master Timothy was first seen in
the village one foggy morning, after a drizzling warm showery night, when he was
detected in a garret, at the extremity of the suburbs, and it was the general
supposition that he had rained down in company with a store of little toads,
that were seen hopping about, as is usual after a shower. <i>Around his garret
were disposed a number of unframed pictures, painted on glass as in the
olden time</i>, representing the four seasons, the old King of Prussia, and
Prince Ferdinand of Brunswick, in their sharp-pointed cocked hats, the fat,
bald-pated Marquis of Granby, the beautiful Constantia Phillips, and divers
others, <i>NOT FORGETTING THE RENOWNED KITTY FISHER, who, I honestly
confess, was my favourite among them all.</i> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">The
whole village poured into the garret to gaze at these chef d'oeuvres, and it is
my confirmed opinion, which I shall carry to the grave, that neither the
gallery of Florence, Dresden, nor the Louvre, was ever visited by so many real
amateurs. Besides the pictures, there were a great many curiosities to the
simple villagers, who were always sure of being welcomed by Master Tim with a
jest and a tune. Master Tim, as they came to call him when they got to be a
little acquainted, was a rare fellow, such as seldom rains down any where, much
less on a country village. <i>He was of “merry England,”</i> as they call
it—lucus a non lucendo — at least so he said and I believe, although he belied
his nativity by being the merriest rogue in the world, even when the fog was at
the thickest. <i>In truth he was ever in good humour, unless it might be when a
rare beetle or gorgeous BUTTERFLY</i>, that he had followed through thick and
thin, escaped his net at last. Then, to be sure, he was apt to call the
recreant all the “d-d vagabonds” he could think of.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">And
note also that the ‘garret’ of “Master Tim” sounds suspiciously like Fanny
Price’s attic, in the idiosyncratic gallery of pictures hanging on its walls! <o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">So what does this mean about the
“Kitty Fisher” in Mitford’s mock letter in 1823? Does it inject a subliminal
aura of rape and prostitution? And if so, does that have anything to with Mitford’s
mother having described the young Jane Austen as a “husband-hunting butterfly”,
which is very much the way the unchaste Lydia Bennet could be described in
P&P? If Mitford thought Elizabeth Bennet too “pert” and “worldly” for
Darcy, then what about Lydia? And then, what about the young Jane Austen? <o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">JANE AUSTEN’S GHOST, REDUX:<o:p></o:p></span></div>
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<span style="font-size: 11.0pt;">The title of the TLS podcast
interview of Devoney Looser was called “Haunted By Jane Austen” – this was
surely based on the central theme in Mitford’s mock letter of Jane Austen
coming to “Jane Fisher” as a ghost. But guess what, this turns out to be
additional evidence that Mary Russel Mitford wrote the 1823 mock letter, because
of what Mitford wrote nearly 3 decades later:<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman",serif;">Recollections
of a literary life<span style="mso-spacerun: yes;"> </span></span></i><span style="font-family: "Times New Roman",serif;">(1852) <i><o:p></o:p></i></span></div>
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<span style="font-family: "Times New Roman",serif;">“…A
place full of associations is Bath. When we had fairly done with the real
people, there were great fictions to fall back upon; and I am not sure, true
and living human beings as Horace Walpole and Madame dArblay have shown
themselves in their letters and journals—full of that great characteristic of
our human nature, inconsistency, of strength and weakness, of wisdom and folly,
of virtues and faults; I am not sure, eminently human as these worthies shine
forth in their writings, that <i>those who never lived except in the writings
of other people—the heroes and heroines of Miss Austen, for example—are not the
more real of the two. <o:p></o:p></i></span></div>
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<i><span style="font-family: "Times New Roman",serif;">Her
exquisite story of</span></i><span style="font-family: "Times New Roman",serif;">
<i>PERSUASION ABSOLUTELY HAUNTED ME</i>. Whenever it rained (and it did
rain every day that I stayed in Bath, except one), I thought of Anne Elliott
meeting Captain Wentworth, when driven by a shower to take refuge in a
shoeshop. Whenever I got out of breath in climbing up-hill (which, considering
that one dear friend lived in Lansdown Crescent, and another on Beechen Cliff,
happened also pretty often), I thought of that same charming Anne Elliott, and
of that ascent from the lower town to the upper, during which all her
tribulations ceased. And when at last, by dint of trotting up one street and down
another, I incurred the unromantic calamity of a blister on the heel, even that
grievance became classical by the recollection of the similar catastrophe,
which, in consequence of her peregrinations with the Admiral, had befallen dear
Mrs. Croft. I doubt if any one, even Scott himself, have left such perfect
impressions of character and place as Jane Austen.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">In a
nutshell, Mitford sees “ghosts” of <i>Persuasion</i>’s heroine, Anne, and her
eventual sister in law, Mrs. Croft, when Mitford walks the streets of Bath! And
I, in turn, now find myself strangely haunted by the realization that Mary
Russell Mitford was a much sharper elf than I ever dreamt of– did you know,
e.g., that Mitford, at age 24, published a proto-feminist poem, “Christina, the
Maid of the South Seas” about the aftermath on Pitcairn Island of The Mutiny on
the Bounty, with the biracial daughter of Fletcher Christian and his Tahitian
lover as the unlikely heroine – a poem that may well have influenced Byron’s
1823 "The Island"? [For more about that, read “Romancing the Pacific Isles before
Byron: Music, Sex, and Death in Mitford's <i>Christina</i>” ELH, Vol. 76, No. 2
(Summer, 2009), pp. 277-308, authored by my new Tweep, Elisa E. Beshero-Bondar,
who also happens to run the Digital Mitford Project!]<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">And so,
one last time before I go – Happy Birthday Jane and Mary!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">Cheers,
ARNIE<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif;">@JaneAustenCode
on Twitter<o:p></o:p></span></div>
<!--EndFragment--><br />Arnie Perlsteinhttp://www.blogger.com/profile/01720424361279466002noreply@blogger.com0