anghraine: luke and leia against a yellow background, swirly circles between them; text: bonds of spirit (luke and leia [bonds of spirit])
Working on my final paper (due tomorrow, haha) and...

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anghraine: darcy (david rintoul) and elizabeth (elizabeth garvie) smiling at each other (darcy and elizabeth)
Vindication of the Rights of Woman, Ch 3
I will go further, and affirm, as an indisputable fact, that most of the women, in the circle of my observation, who have acted like rational creatures, or shewn any vigour of intellect, have accidentally been allowed to run wild—as some of the elegant formers of the fair sex would insinuate.
hm

Pride and Prejudice, Ch 9:
“Lizzy,” cried her mother, “remember where you are, and do not run on in the wild manner that you are suffered to do at home.”
Pride and Prejudice, Ch 19
“Do not consider me now as an elegant female intending to plague you, but as a rational creature speaking the truth from her heart.”
hmmm
anghraine: leia c. esb; text: you'll never know how tough it is to be the one who isn't chosen (leia [not chosen])
In this one, she takes on the idea that there are Man Virtues and Woman Virtues, and girls should be educated for Woman Virtues, which Wollstonecraft rightly dismisses as—look, what is suddenly being considered strictly male virtue is human virtue, it's constantly framed as human virtue, if somehow those things aren't for women then you're essentially saying women are subhuman.

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anghraine: from the 2005 p&p: darcy standing at a piano while georgiana plays it (Default)
No idea how long this will take me, so prepare for more spam. This time with more feminism!

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anghraine: large text: feminazi; small text: because wanting to be treated like a human being is just like invading poland (feminazi)
We all know Wollstonecraft around these parts! But nevertheless:

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anghraine: from the 2005 p&p: darcy standing at a piano while georgiana plays it (darcys)
I already read through the Fielding novel I'm studying for my exams (Jonathan Wild, which I heartily recommend for lols, hijinks, and social commentary—with an unexpected aside about the injustice of sexual double standards). I do want to commit some things about Fielding himself to memory, however, so some highlights of one of England's first great novelists:

His branch of the Fielding family were poor relations of the earls of Denbigh. The earls spelled the name Feilding, which Henry Fielding sneered at.

Henry Fielding sneered at a lot of things. Like the government. Specifically, Walpole's government.

More specifically, Fielding started his career as a dramatist, and became the greatest playwright of the day. He wrote burlesques, comedies, satires in the dozens, his plays growing more and more political and more harshly critical of the government, finally inspiring the Licensing Act of 1737, which made dramatic performances subject to governmental approval.

Until 1968.

That's right: Fielding snarked at the government enough that the legislation to deal with him lasted for over TWO HUNDRED YEARS. It's impressive, in a depressing, silencing sort of way.

It did not, however, achieve the result of silencing Fielding!

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anghraine: a piece of paper covered in handwriting and a fountain pen; text: writer (writing)
Please be the last. Please, please, please. (Note from the future: it is!! Thank God.)

Continued from this.

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anghraine: bingley from 2005 p&p; text: bingley abruptly turns and BITES through the eyes of darcy! (bingley [zombie???])
so close

Continued from this.

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anghraine: a picture of the protagonist and pov characters as my novel as hogwarts students (arceptra and giva (hogwarts))
I never imagined Pekuah would get this much screentime, but here we go. More ship fodder!

Continued from this.

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anghraine: unmasked vader and luke between teal panels; text: tell your sister (anakin and luke [tell your sister])
Nekayah/Pekuah tbh

Continued from this.

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anghraine: leia in the death star cell; text: distressing damsel (distressing damsel)
ugh

Continued from this.

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anghraine: leia c. anh; text: you don't have the buns to be princess leia (leia [buns])
I thought I could finish this in two posts and an hour or two, if you can believe it.

Continued from this.

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anghraine: sherlock holmes [benedick cumberbatch]; text: i'm bored & your porn is boring (sherlock)
THE AUSTEN CONNECTION AT LAST!

Continued from here.

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anghraine: leia peering sideways (anh) (leia [angle])
continued from this

kill me now


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anghraine: from the 2005 p&p: darcy standing at a piano while georgiana plays it (darcys)
Escape! Continued from this.

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anghraine: leia hugging luke at the end of esb (luke and leia [hugs!])
I didn't order a side of RAGING IMPERIALISM with my fable, Johnson.

Continued from this.

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anghraine: picture of luke; text: my fandom has been whining longer than your fandom has existed (luke [whining])
Continuation of this post.

IMLAC!

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anghraine: vader extending his lightsaber; text: and now for the airing of grievances! (anakin [grievances])
Continuation of study hall this post.

I began the last post with Austen's allusion to Samuel Johnson in Mansfield Park. In context, the reference comes from Fanny's time at Portsmouth, when she compares Portsmouth vs Mansfield to Johnson's take on marriage vs celibacy—that is, that while marriage has some pains, celibacy can have no pleasures. (Portsmouth = celibacy and Mansfield = marriage in this analogy. Analyze away!) His line comes not from his poetry, but from Rasselas, a "prose fable."

I would ... not call it a fable, though I'm not sure what I would call it. My professor talked of it as a proto-novel: it has relatively distinctive characters, episodic adventures tied into something approximating an over-arching plot (though without appearing interested in an actual dénouement—it doesn't so much conclude as stop), more or less characteristic dialogue, and a major theme. The theme, of course, is Johnson's favourite topic (and/or pet peeve): the proper way to pursue happiness.

However, the characters are very, very thinly drawn, serving more as vehicles for the discussion and reflection than anything like credible human beings. The prof says we don't really get that level of sophistication and psychological realism until Austen, though I think we do see it in drama from the Renaissance onwards. But prose, yeah, iffy, though there are still some compelling characters.

Like! FANTOMINA, GUYS. She has maybe three personality traits, but they are all amazing. It's about a woman who would be a genius superspy in another time, but in her own, wastes her talents on this douchebag that she's completely obsessed with. We've got to assume he's really good in bed, as 1) his name is Beauplaisir and 2) he shows no attractive personality traits, and the actively repellent one of discarding every woman he gets entangled with as he quickly bores of them.

Spoiler: every single one of those women is Fantomina. It's not her real name. She's a lady who keeps disguising herself as different women to catch his interest, without ever being caught. This happens over and over again because, well, her superspy talents are wasted on this asshole. She would have just kept on going, with every indication that she would have succeeded indefinitely, if she hadn't gotten pregnant. Boo. There's a pretty great scene when Fantomina is finally pressured into revealing the identity of her lover, and when Beauplaisir is like "umm I'm pretty sure I would know if I'd dishonoured a lady," Fantomina's like "welllllll as it happens I seduced him under multiple disguises and he never realized he was fucking the same woman. My bad!" And then they're like, um, it seems weird to punish this guy for being stalked by a superspy ~of lust.~

Anyway, back to the less entertaining but more thoughtful fable thing. Not a real novel—or short story/novella—but inching closer. (I still miss the richness of Renaissance drama, though. Now THOSE are characters. Sometimes. *squints at Volpone*)

RIGHT. JOHNSON. Read more... )
anghraine: b&w leia in anh, melancholy; text: shadows falling (leia [shadows])
In Mansfield Park, Austen makes a reference to "Dr Johnson's celebrated judgment."

Samuel Johnson is the man she's talking about, who I think is most lastingly remembered as The Dictionary Guy. He spent seven years compiling A Dictionary of the English Language, which was commissioned due to the general shittiness of English dictionaries up to that point. To make matters worse, while the £1,575 he made from it was a ton of money for the time (1747-1755), it wasn't actually enough to cover the expenses of the materials, the assistants, and his own household. So he had to keep writing while working on this massive project.

A friend actually pointed out that the standardized French dictionary had taken forty years to create, with forty people working on it. Johnson basically shrugged and went "lol, the French, amirite?" He actually boasted that he could do it in just three years, though it took seven in the end. It's still one of the greatest works of scholarship in the history of English—it was the ultimate English dictionary until the OED. 

In the meanwhile he wrote a play, Irene, helped by his bff David Garrick, former pupil and current theatre superstar. It wasn't terribly successful, but he made money off of it, which was ... well, he was very much of the Terry Pratchett line of thought on writing. More precisely, he said that "no man but a blockhead" would write for any reason but to make a living.

...

Well, he got what he wanted out of it, anyway. He also wrote this poem called "The Vanity of Human Wishes." Coming out of a Chaucer class, I figured it'd be about how people always ask for the wrong things, and don't recognize the right ones (think "Unanswered Prayers," lol—the concept goes back a long way). It's ... well, vaguely about that, but on a far more existential level.

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