anghraine: a screenshot of fitzwilliam and georgiana darcy standing together in the 1980 p&p miniseries (darcys (1980))
Rambling about family relationships based on my research for my PhD exams (16th- to 18th-century British literature):

One of the things that came up in my reading for my exams was, inevitably, ~the rise of the companionate marriage~. The usual framing is often over-simplistic and very heterocentric; people sometimes talk as if there was no concept of marriage involving romantic ties (sometimes even exclusive romantic ties!) until the 17th/18th century or something.

That said
, IMO there’s something to it, at least in England. As someone who had mostly done research in the 18th and earlier 19th centuries, 16th-century takes on marriage often sound like they come from Earth 2. Over time, there’s more and more emphasis on the ties of marriage, companionship, and parenthood in cultural discourse, with other family relationships increasingly subordinated to those, even while ideas from earlier periods about the importance of those other family relationships persisted in some ways.

Like, there was a lot of talk about how brothers were supposed to care for the interests of their siblings, especially their unmarried sisters, but there’s also a lot of talk about how that was increasingly not happening, and how the ties between brothers and sisters were becoming less important and less reliable as a "net" for unmarried women.

Men increasingly resented their sisters for taking resources that would otherwise go to their wives and children, or simply denied them meaningful resources altogether in favor of focusing on their own wives/children. It was a really well-established dynamic by the time that Wollstonecraft wrote about it in Vindication of the Rights of Woman and Austen in Sense and Sensibility.

One of the things that S&S highlights is that John and Fanny Dashwood’s son does not need the resources that are denied to John’s sisters. He already has a comfortable separate inheritance. John prioritizes Fanny and Harry over his sisters both because of his character and because doing so had become very culturally normalized by then.

By the 20th century (at least in the UK and US), people prioritizing their spouses and children over their siblings or other connections was and is often going to seem "well, of course they would." But the degree to which that is the case is really influenced by cultural norms and expectations. Going back to Austen (surprise), she has an intriguing passage about it that speaks to the shifts in how the sibling tie was seen and experienced:
An advantage this, a strengthener of love, in which even the conjugal tie is beneath the fraternal. Children of the same family, the same blood, with the same first associations and habits, have some means of enjoyment in their power, which no subsequent connections can supply; and it must be by a long and unnatural estrangement, by a divorce which no subsequent connection can justify, if such precious remains of the earliest attachments are ever entirely outlived. Too often, alas! it is so.—Fraternal love, sometimes almost every thing, is at others worse than nothing.
I don’t even have siblings (sort of surrogate siblings, but not people I was actually brought up with), but I do find the evolution and melancholy over this really interesting. And I do think that a lot of the, hmm, enthusiasm over the rise of the “companionate marriage” tends to ignore the cost of it.

Tagged: #i am pretty sure this is why austen keeps returning to darcy's sense of responsibility and deep affection for his sister #and why elizabeth thinks his way of talking about georgiana should have told her about his character #i've seen people be like 'just bc you care about your own family members doesn't mean you're a good person wtf' about that #but it was a big deal at the time! #wickham brings it up as something that people in general praise darcy for too #obviously this was of really immediate concern for austen herself #but plenty of people write about it over the years #and it's just ... idk #complicated

[ETA 5/28/2024: this is actually extremely relevant to my dissertation and something I was literally just writing about today!]

/grump

May. 13th, 2024 10:47 am
anghraine: darcy and elizabeth after the second proposal in the 1979 p&p (darcy and elizabeth [proposal])
I've got a lot of P&P hills to die on, but two ideas I will absolutely reject to the end of time:

1. Darcy or Elizabeth has a redemption arc.

Character growth is not redemption. Even while depicting their parallel character arcs, Austen emphasizes the extent to which they remain essentially the same people in terms of their basic flaws (e.g. Elizabeth's continued misjudgments via reductive schemas, Darcy's cold standoffishness upon his return to Hertfordshire), but also that they were always unusually good people despite their fuck-ups and overall arcs of improvement.

2. Darcy/Elizabeth is enemies to lovers.

There's a window of time when Elizabeth genuinely hates Darcy, though even then I don't think she regards him as her enemy. Darcy does not ever hate her or regard her as an enemy, he just initially doesn't like her or find her attractive. One-sided veiled hostility towards a social acquaintance is not enemies to lovers material, sorry.
anghraine: a photo of green rolling hills against a purply sky (hertfordshire) (herts)
In response to this post, [personal profile] elperian said:

there is that line where jane says ‘nothing could give either bingley or myself more delight. but we considered it, we talked of [lizzy and darcy] as impossible.’ so they do have a textual convo offscreen - but it’s about l/d which is funny in its own way

I replied:

Yeah, that’s what I meant when I said that it’s not that they don’t speak to each other in-story—they must have spoken on numerous occasions, of course, including those ones. It’s that Austen doesn’t bother showing any of those conversations in dialogue (unless I’m misremembering), which I think is fairly suggestive about the novel’s priorities.

rorylgilmore responded [on 5 Jan 2023]:

#same. i don't get it #i like the character of jane #but i'm confused whenever p&p is made to be about the two sisters and their romances as if it was s&s #(yet another reason i'm not on board with grouping all austen novels together) #we don't know enough about jane/bingley to be as invested (from my perspective at least) #still to each their own
anghraine: a photo of green rolling hills against a purply sky (hertfordshire) (herts)
An anon asked:

Love what you write about Darcy/Elizabeth! Just curious, what do you think of Jane/Bingley? Do you think they would be a good couple?

I replied:

Thank you very much!

For Jane/Bingley, I think it depends on what you mean by “good.” They’ll be … fine, I think? There’s no real reason for them not to be.

But—well, I’m pretty resistant to the versions/interpretations of Jane/Bingley that I see now and then that are like, “well, actually, they’re very compelling as written and it’s suggested they would have a complex, ultra-passionate relationship!” Different people find different things interesting, of course, and have different headcanons, but … we never really see them interact and IIRC they don’t exchange a single line of dialogue. It’s hard for me to latch onto that as anything but plot and characterization device.

Read more... )
anghraine: a painting of a man from the 1790s sitting on a rock; he wears a black coat, a white waistcoat and cravat, and tan breeches (darcy (seriziat))
An anon said:

I keep wondering about this: How/When do you think Darcy and Wickham's friendship ended? A slow disintegration? A sudden realisation. Did it happen at school? At University? How much time did they spend together? I suspect that how audiences interpret this has a big impact on how they see their characters...

I replied:

It’s possible!

Darcy says that he was exposed to Wickham’s real character as a young man, many, many years earlier, which is vague, but gives us a general idea.

It’s worth mentioning that Darcy is also introduced as a “young man” in the present, so his idea of “many, many years” might not be as vast as it sounds. At any rate, this certainly suggests (or states, rather) that he was an adult when he realized what Wickham was, while his father didn't reach the same realization. That gives us another point on the timeline: Mr Darcy was still alive at this point, so Darcy was 23 or younger at the time (making it 5+ years earlier).

To me, it sounds like Wickham went noticeably wrong in early adulthood, not childhood (so not at school), but very early adulthood. It also sounds like they were together pretty often up to that point. Darcy says:

“The vicious propensities—the want of principle, which he [Wickham] was careful to guard from the knowledge of his best friend [Mr Darcy], could not escape the observation of a young man [Darcy] of nearly the same age with himself [Wickham], and who had opportunities of seeing him in unguarded moments.

So Darcy and Wickham were around each other enough that Darcy considers his observation of Wickham’s true character to have been inevitable, and their estrangement seems to have followed that. My impression is that they were good friends up to around 20, hung out a lot for a time, but that Wickham soon went down a path that Darcy couldn’t follow or accept. It doesn’t sound like it happened all at once to me, to give Darcy chances to see Wickham’s unguarded moments for some unknown length of time, but it also doesn’t sound all that gradual; Darcy seems to have had a clear (and disapproving) idea of what he was seeing.

At the same time, he kept the whole thing secret from his father—perhaps because Mr Darcy was likely in poor health by then, or because he privately hoped it was a phase (even after this point, he “wished” to believe Wickham was sincere about turning his life around), or some other reason. That’s speculation, but I think we do have a rough timeline for when the estrangement happened.
 
 Tagged: #short version: they must have been young men at the time but also under 23 #so not kids but quite young #anghraine's headcanons #a little!
anghraine: hayley atwell as mary crawford playing a harp in itv's mansfield park (mary crawford)
An anon asked:

I feel like you've probably been asked this before, but which Austen novel do you most recommend? (I've read p&p and really loved it!)

I replied:

My favorite after P&P is Mansfield Park, but a lot of people bounce pretty hard off of it. It’s longer, more sober, much less classically romantic (I ship the heroine and her rival muuuuch more than the main canon couple), and often considered morally messy.

If that’s not your thing, you might want to try Persuasion. It was written towards the end of Austen’s life in the later 1810s, whereas P&P was first written in the mid-1790s, so it’s very different in some ways. It definitely engages with a changing world where P&P really belongs to an earlier era. But it’s interesting, and IMO very touching in its own right.

[personal profile] heckofabecca said:

my 3 favs <3
anghraine: darcy kissing elizabeth's hand after their engagement in "austen's pride" (darcy and elizabeth (engagement))
I have a longer post in drafts about it, but … one of the things I really enjoy about Austen is that she doesn’t hold back judgment of her characters or even altogether deny them agency (though her fandom sometimes does!), but she also frequently goes out of her way to highlight the experiences that have influenced their development into who they are.

Especially (though not exclusively) when it comes to her main characters, her good people aren’t good because they just had the innate moral fortitude to shrug off their upbringings or the things that have happened to them, which seems to be a lot of people’s idea of goodness. Austen main characters are good people and they’re impacted by their experiences and have qualities (often flaws) that clearly arise more out of upbringing than any essential underlying characteristic. Goodness isn’t just about super-resilience, but neither is experience wholly defining.

It’s not at all restricted to Austen, of course, but even now (…particularly now), it’s so refreshing.

Tagged: #i'm so tired of the resilience narrative or blank slate narrative #and i was thinking of how elizabeth/darcy is one of comparatively few ships i'm really into where the characters #are just about squeaky clean—and i think part of it (aside of their general magnificence lol) is it's not a magic resilience thing at all #she is extremely clear about the ways in which they have been influenced—mostly for the worse—by their experiences #they're allowed to be good AND to be affected by their lives in natural ways #shouldn't be as refreshing as it is but it's one of the things i keep going back for

[ETA 4/30/2024: I was also thinking about Mr Collins, of all people—Austen doesn't justify him in any way, obviously, but also doesn't try to pretend that his upbringing and history aren't what made him who he is. The effects of education, upbringing, and general history on people's characters and morals are a constant preoccupation of her books, IMO.]
anghraine: a photo of green rolling hills against a purply sky (hertfordshire) (herts)
I've been thinking about ways in which Austen criticism has often fallen down wrt class analysis. Back in the 90s Julia Prewitt Brown wrote a "review" that is actually a guided tour through the failings of feminist analysis of Austen due to many things, but one of them was a failure of substantive class analysis in terms of gender. But I still see a lot of what she was talking about in both academia and more fandom or pop culture oriented interpretations—I'm inclined to think particularly when it comes from a contemporary US perspective.

I have way more thoughts about this than I have time to articulate, but I think US fans and academics in particular (though not exclusively) struggle to understand class in Austen's novels or other literature of the time in a way that is not simplified and enormously dependent on largely unfamiliar formal or legal categories rather than complex, sometimes contradictory or unpredictable, highly, highly striated structures that a quick consult of population breakdowns or tables of precedence is not going to explain. And at the same time, I think we (speaking as a US American!) often focus on the more (to us) exotic elements of 18th and early 19th-century British class dynamics rather than analyzing those dynamics in terms of class interests. These interests aren't purely financial (the understanding of class priorities purely in direct financial terms also seems very much a US perspective on it—maybe not exclusively again, idk).

Easy example, but: analysis of class in P&P tends to focus overwhelmingly on questions of exact legal status, precedence and large-scale categories (military, clergy, gentry, upper vs lower servants...), and reported income. And those things matter, for sure. But this tends to neglect how the characters perceive their own class interests (and how accurate their perception may or may not be), who their "natural" allies are, what larger social structures they benefit from or fail to benefit from (again, not only financially, though also that), their conflicts and alliances. Anne de Bourgh and Charlotte Lucas likely have either the same or quite similar ranks in formalized terms before Charlotte's marriage (as daughters of knights*) and are just about exact contemporaries, but the class structures around them are very different in ways that extend even beyond Anne's vast inheritance and Charlotte's lack of one. The image of Charlotte standing in the cold wind while a closely supervised Anne talks at her from her phaeton without any awareness of Charlotte's possible discomfort makes this seem especially stark.

This is even more glaringly apparent in something like William Godwin's Caleb Williams, in which the terrifying, relentless extent of aristocratic power over common people is represented by a country squire with six thousand a year. Legally that squire, Falkland, is no less a commoner than Caleb himself (relatedly, every member of the extended Fitzwilliam family appearing in P&P are also legally commoners). But that doesn't tell you anything about the sheer degree of power afforded Falkland and what six thousand a year signifies beyond direct buying power (that is very wealthy for the country gentry of the 1790s; it turns out a major part of his income, significantly, derives from slave plantations rather than his property in England; moreover, Falkland is able to bring power to bear everywhere Caleb goes in a way that only partly involves direct purchases).

I do seriously have to go write other things, but I wanted to get some part of this out of my head before I forget.

*Anne de Bourgh could be the daughter of a baronet rather than a knight, and thus higher-ranking than Charlotte in terms of strict precedence, but a) the distinction in precedence is so unimportant to understanding what she represents in class terms that we aren't told, and b) Sir Lewis is more likely to have been a knight than baronet IMO from what contextual information we do have.
anghraine: a painting of a man c. 1800 with a book and a pen; the words love, pride, and delicacy in the upper corner (darcy (love)
An anon asked:

This is a weirdly specific P&P question, when Darcy and Wickham meet Austen says 'one looked white, the other red'. Which one does she mean?! I've seen fanfic do it both ways and I'm really not sure...

I replied:

I know I have a post about this somewhere, but couldn’t find it! In any case:

It’s one of my favorite little bits, because how you read it is so shaped by your ideas of the characters at the time. Before knowing the truth, it’s easy to assume that Darcy is blushing and Wickham is white with anger. Or you could assume that Darcy is pale with fear at the prospect of being exposed and Wickham is righteously angry.

Of course, in reality, their emotions are more or less the other way around. Wickham is so shameless that it’s hard for me to see him blushing about anything, but we know from him evading Darcy at the Netherfield ball that he’s afraid. And iirc Darcy colors on more than one occasion, and he certainly has every reason to be enraged on that one. So I think it’s most probable that Wickham is pale with fear and Darcy flushes in anger.

(It’s debatable, of course—that’s just what I think is likely.)
anghraine: rows of old-fashioned books lining shelves (books)
moggett responded to this post:

It also seems to utterly ignore how Elizabeth is also supposed to be overcoming her initial incorrect first impression of Darcy. It’s not like Elizabeth is perfect in the text while Darcy changes…

I replied:

Oh, definitely. With fandom, to be fair, you get a mix of that and more balanced takes, but I think academia generally (though not always) tends to resist the equality between them forwarded by P&P’s structure and dynamics.

I think it’s partly because P&P does a really good job of inviting readers to participate in Elizabeth’s perceptions and mistakes while leaving open the possibility of doing otherwise, which is especially uncomfortable for academics of a certain type (who are often not great at accepting being wrong), and all the more so for ones who can’t bring themselves to complicate their initial judgment of Elizabeth as the only truly right-thinking character.

It’s an old piece, but I remember reading an essay about how Darcy’s letter hijacks readerly sympathies that should continue to belong with Elizabeth to the point of provoking resentment from readers. I don’t think it actually does that for most readers (Darcy has always been popular, as Austen intended; when she was worrying about what her beloved niece would think of P&P, Austen wrote, "Her liking Darcy and Eliz[abe]th is enough. She might hate all the others if she would"). But it does have that effect for some people who are often prone to these academic approaches. But it’s—the evidence that Elizabeth’s judgments are skewed by her vanity is pretty copious by the time that Darcy proposes, if you’re willing to see it, and unwillingness to see it or give it ethical weight even upon re-reading is, I think, basically an unwillingness to engage with the novel on its own terms.

Tagged: #/rambles #i genuinely think a lot of academia handwringing over pride and prejudice comes from being unable to accept being wrong #with a side of hugely prioritizing theory to the point of neglecting the details of the text #i don't mean subtle detail either ... it's more of what strier was talking about imo
anghraine: a painting of a man c. 1800 with a book and a pen; the words love, pride, and delicacy in the upper corner (darcy (love)
[personal profile] tree responded to this post:

i can’t remember the wording, but someone (mrs gardiner?) even comments on the significance of such a recommendation of his character by an intelligent servant.

I replied:

It’s in the narration, but yes!

The commendation bestowed on him by Mrs Reynolds was of no trifling nature. What praise is more valuable than the praise of an intelligent servant? As a brother, a landlord, a master, she considered how many people’s happiness were in his guardianship!—how much of pleasure or pain was it in his power to bestow!—how much of good or evil must be done by him!f

The text is emphatic that the judgment of Mrs Reynolds and those in roughly similar positions to her is immensely important as an indicator of Darcy’s (or anyone’s) true character. I think people do tend to treat it as "trifling," unfortunately—nice, but not terribly weighty, despite Austen underscoring its importance here and Elizabeth suddenly grasping that Darcy’s character is best understood by those who are directly subject to his power.

I actually find that moment super interesting in general, because I think the implication is that Elizabeth had not before understood this. It’s not that she never thought about it before because she didn’t have access to the people under Darcy’s power, IMO, but because she wasn’t thinking of his power in those terms. So it’s doing interesting work with Elizabeth’s characterization, too, but still gets relegated to an afterthought. :\
anghraine: hayley atwell as mary crawford playing a harp in itv's mansfield park (mary crawford)
I finally managed to work Austen into my exam and it’s freaking Northanger Abbey. >_<

Tagged: #na is ... fine #and obviously one of the easiest to directly connect to 18th cent stuff #but also definitely not my fave and i'm sitting there like #let me talk about p&p or mp #please #we'll see if i can make it work... /sigh #i've got 10 more pgs to write in #uh #11 hours #okay

[ETA 3/23/2024: my song choice was random, but ngl the PhD exam posts certainly felt like I was blogging from the end of the world!]
anghraine: a shot of an enormous statue near a mountain from amazon's the rings of power (númenor [meneltarma])
I still think about the time in my MA when my creative writing prof asked who my favorite authors were, and after I said “Jane Austen and JRR Tolkien,” replied, “That explains a lot.”

Tagged: #it's 4-5 years later and i'm still like #???? #????????? #WHAT DOES IT EXPLAIN #i can think of things but it's not like knowing!!
anghraine: david rintoul as darcy in the 1980 p&p in a red coat (darcy (1980))
One of the things I love about Darcy canonically having to work himself up to talking to Elizabeth when he first gets interested in her is that … honestly, it’s not that his feelings for her at that point are all that strong.

I mean, it takes him time to get there! He’ll later say that falling in love with her happened gradually. He’s just kind of reluctantly intrigued when he has the genius idea that maybe listening to her talk to other people will make it easier to talk to her himself. A great passion for Elizabeth isn’t making him like that; his own personality is.

There are also later events and conversations that suggest he is genuinely awkward and uneasy around people he doesn’t know well or isn’t comfortable with, and a few occasions when he talks about jarring people in general. Those aside, though, his “what if … I just listened to her talk …?” lightbulb moment always has a special awkward turtleduck charm for me.

And it’s all the more delightful because he is otherwise a stubborn, straightforward, frequently arrogant human being. But when he’s out of his depth, he’s really out of his depth, even when he’s trying harder. And even then, Austen is insistent on this as a character detail alongside his ultra-competence in so many other ways and … what a fave!! <3

Tagged: #have i mentioned lately that i love book!darcy a LOT??? (she says after having monologued about him for 15 years) #and it's always kind of amazing that he's been so influential and there are so many characters like him but also ... they aren't really? #the blend of assurance and awkwardness is just really hard to carry off imo and she does it /so/ well #where i think a lot of derivative and adaptational versions end up skewing strongly one way or the other #anghraine's meta #sorta #since i don't have a tag for just throwing squee at the page :P #ALSO this is why elizabeth going from 'maybe you should just try :) harder :)))' to trying to shield him is always so dear to me #like #if he's not really awkward and uncomfortable Deep Down then it makes that part of her arc really odd and disconcerting #but if he needs to actually put some effort into social things AND they're genuinely difficult and draining for him #then it becomes this sweet mutuality thing and one of my top fave things about the whole ship #:)
anghraine: a painting of a man c. 1800 with a book and a pen; the words love, pride, and delicacy in the upper corner (darcy (love)
I’ve talked about this a million times before, but every time I see arguments about which broody adapted Darcys are better, I just think of:

“I have been used to consider poetry as the food of love,” said Darcy.

“Of a fine, stout, healthy love it may. Everything nourishes what is strong already. But if it be only a slight, thin sort of inclination, I am convinced that one good sonnet will starve it entirely away.”

Darcy only smiled.

-

“There is, I believe, in every disposition a tendency to some particular evil—a natural defect, which not even the best education can overcome.”

“And your defect is a propensity to hate everybody.”

“And yours,” he replied, with a smile, “is wilfully to misunderstand them.”

-

“It is your turn to say something now, Mr Darcy—I talked about the dance, and you ought to make some kind of remark on the size of the room, or the number of couples.”

He smiled, and assured her that whatever she wished him to say should be said.

-

“What think you of books?” said he, smiling.

“Books—Oh! no. I am sure we never read the same, or not with the same feelings.”

“I am sorry you think so; but if that be the case, there can at least be no want of subject. We may compare our different opinions.”

-

“It is a proof of your own attachment to Hertfordshire. Anything beyond the very neighbourhood of Longbourn, I suppose, would appear far.”

As he spoke there was a sort of smile which Elizabeth fancied she understood.

-

“Indeed, Mr Darcy, it is very ungenerous in you to mention all that you knew to my disadvantage in Hertfordshire—and, give me leave to say, very impolitic too—for it is provoking me to retaliate, and such things may come out as will shock your relations to hear.”

“I am not afraid of you,” said he smilingly.

-

“I have always supposed it to be my own fault–because I would not take the trouble of practising. It is not that I do not believe my fingers as capable as any other woman’s of superior execution.”

Darcy smiled and said, “You are perfectly right. You have employed your time much better. No one admitted to the privilege of hearing you can think anything wanting.”

-

Elizabeth walked on in quest of the only face whose features would be known to her. At last it arrested her—and she beheld a striking resemblance of Mr Darcy, with such a smile over the face as she remembered to have sometimes seen when he looked at her.

-

she sat in misery till Mr Darcy appeared again, when, looking at him, she was a little relieved by his smile.

LET 👏 DARCY 👏 SMILE 👏

Tagged: #not tight brief smiles either #darcy smiles enough for it to show up in a /painting/ #or at least he used to and still does around elizabeth #yes he's a fundamentally serious person but not anywhere near to the degree of the adaptations #thanks for coming to my talk and goodbye


anghraine: a painting of a manor backed by high woody hills, with scattered trees in the foreground (pemberley)
I reblogged a set of quotes I had posted the previous year, on Christmas of 2019:

Could you expect me to rejoice in the inferiority of your connections? To congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?

I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.

I am happier even than Jane; she only smiles, I laugh. Mr Darcy sends you all the love in the world that he can spare from me. You are all to come to Pemberley at Christmas.

<3

In 2020, I added:

It's that time of year!

Tagged: #i always love imagining that first christmas at pemberley #with georgiana and the gardiner kids and mr and mrs gardiner and darcy and elizabeth all together #i just #:')

anghraine: a painting of a man c. 1800 with a book and a pen; the words love, pride, and delicacy in the upper corner (darcy (love)
I reblogged a meme asking us (all of fandom-oriented Tumblr, I guess) to reblog with a quote from our favorite character in the tags, without saying the character's name. I added:

#i will only add god bless you

[ETA 3/9/2024: I am going to tag it correctly on DW for organizational purposes and because lbr you all know who my fave is.]

anghraine: a painting of a man c. 1800 with a book and a pen; the words love, pride, and delicacy in the upper corner (darcy (love)
A small detail in the later phase of P&P that amuses me:

Mr Darcy was almost as far from her [Elizabeth] as the table could divide them. He was on one side of her mother. She knew how little such a situation would give pleasure to either, or make either appear to advantage. She was not near enough to hear any of their discourse; but she could see how seldom they spoke to each other, and how formal and cold was their manner whenever they did.

Mrs Bennet: 

“The venison was roasted to a turn—and everybody said, they never saw so fat a haunch. The soup was fifty times better than what we had at the Lucas’s last week; and even Mr Darcy acknowledged that the partridges were remarkably well done; and I suppose he has two or three French cooks at least.”

It’s like—he complimented Mrs Bennet! He’s trying! 

… but just comes across as a human ice cube anyway. :P

Tagged: #honestly it's one of my fave things about the end of pride and prejudice #or rather the whole second half #there are so many suggestions that they still have the same flaws they always had #it's less about /actually/ overcoming them than putting in the effort to try #elizabeth keeps jumping to wrong (but now well-meaning!) conclusions #darcy works himself up to icy civility #baby steps!

anghraine: darcy and elizabeth after the second proposal in the 1979 p&p (darcy and elizabeth [proposal])
I reblogged the result of some Photoshop fiddling in Oct 2018:




A post for my dreadnought carrier of a ship, fave of all my faves, OTP to rule them all—

Her liking Darcy and Elizabeth is enough, she might hate all the others if she would.

—Jane Austen, 1813

tags )

Icons!

Jan. 15th, 2019 05:30 pm
anghraine: admiral ackbar with a saxophone; text: ackbar plays the blues, features his hit 'the greatest trap of all' (ackbar)
I have a gazillion icons, but only made a few of them personally. But I thought I would share the ones that I did make!

Read more... )

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