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I think Mr. B is referring to a baby Pamela is carrying. A part of the book
that is less published mentions that Pamela had a baby son and that Mr. B
thought that her nursing the baby herself would remind people that he
married some one from a much lower class. ( of course, class wasn't used
then.) According to the author of an essay, husbands of the 18th century
had a great deal to say about whether the wife nursed the child or not.
Nancy

On Sun, Sep 22, 2024 at 1:50?PM Arnie Perlstein via groups.io
<arnieperlstein@...> wrote:

At the end of Richardson’s *Pamela, or Virtue Rewarded*, after Mr. B has
married Pamela, he reveals to Pamela the story of his illegitimate
daughter, Miss Goodwin. He does this in a back-handed way, by first
introducing Pamela to Miss Godwin, whom he had placed in a boarding school
nearby, without revealing her true relationship to him. Then, after Pamela
begins to suspect that he is more than an “uncle” to the girl, he tells
Pamela that she is in fact his daughter, and how that came about. Pamela
warmly accepts the little girl, whom they will then take into their new
marital home.



Then we read this statement by the buoyant Pamela in her letter to her
parents:



“Yesterday we set out, attended by John, Abraham, Benjamin, and Isaac, in
fine new liveries, in the best chariot, which had been new cleaned, and
lined, and new harnessed; so that it looked like a quite new one. But I had
no arms to quarter with my dear lord and master’s; though he jocularly,
upon my taking notice of my obscurity, said, that he had a good mind to
have the olive-branch, which would allude to his hopes, quartered for
尘颈苍别.”



Wikipedia informed me thusly as to the meaning of “arms to quarter”:

“a heraldic term that refers to the practice of dividing a shield into four
or more sections, or compartments, to display multiple coats of arms”.



My question is, does Mr. B mean by that reference to the olive-branch to
symbolize his hopes that Pamela will continue to accept his daughter as if
she were her own; and moreover, to accept his reformation from predatory
rake to faithful husband as bona fide.



Of course, a few of you have been reminded by the above of the references
by Mr. Collins to olive-branches, and in particular the baby he hints
Charlotte is carrying – it's interesting to think of them as allusions to
the above passage in *Pamela.*



ARNIE

At the end of Richardson’s *Pamela, or Virtue Rewarded*, after Mr. B has
married Pamela, he reveals to Pamela the story of his illegitimate
daughter, Miss Goodwin. He does this in a back-handed way, by first
introducing Pamela to Miss Godwin, whom he had placed in a boarding school
nearby, without revealing her true relationship to him. Then, after Pamela
begins to suspect that he is more than an “uncle” to the girl, he tells
Pamela that she is in fact his daughter, and how that came about. Pamela
warmly accepts the little girl, whom they will then take into their new
marital home.



Then we read this statement by the buoyant Pamela in her letter to her
parents:



“Yesterday we set out, attended by John, Abraham, Benjamin, and Isaac, in
fine new liveries, in the best chariot, which had been new cleaned, and
lined, and new harnessed; so that it looked like a quite new one. But I had
no arms to quarter with my dear lord and master’s; though he jocularly,
upon my taking notice of my obscurity, said, that he had a good mind to
have the olive-branch, which would allude to his hopes, quartered for 尘颈苍别.”



Wikipedia informed me thusly as to the meaning of “arms to quarter”:

“a heraldic term that refers to the practice of dividing a shield into four
or more sections, or compartments, to display multiple coats of arms”.



My question is, does Mr. B mean by that reference to the olive-branch to
symbolize his hopes that Pamela will continue to accept his daughter as if
she were her own; and moreover, to accept his reformation from predatory
rake to faithful husband as bona fide.



Of course, a few of you have been reminded by the above of the references
by Mr. Collins to olive-branches, and in particular the baby he hints
Charlotte is carrying – it's interesting to think of them as allusions to
the above passage in *Pamela.*



ARNIE

I am truly delighted that my blog-essay called A Calendar for Sense
and Sensibility is now up on, and part of Sarah Emsley's Summer party
for Jane Austen's S&S. It's based on my timelines from and for
Austen's six seemingly finished novels, and three of her four
unfinished novels. I published one paper (on the calendar I found in
S&S) and put all the others on my website under the rubric: Time in
Jane Austen: A Study of her Uses of the Almanac. While studying the
novels this way I discovered (among other things) that in all but
Northanger Abbey and Sanditon memorable and linchpin events where
there is a hurtful humiliation of a heroine or great social loss, or
deprivation/dispossession Austen has configured her timeline to make
the day or evening a Tuesday. Since it's an attempt to show some
fundamental about S&S, the other Austen's novels, and the nature of
her art I am especially pleased to provide closure for this wonderful
seasonal celebration



Ellen

I'm now writing a brief essay on the timeline & Tuesday in S&S (and
other Austen novels) for Sarah Emley's blog -- perfect excuse to spend
evening wallowing in the Ang Lee/Emma Thompon 1995 S&S and Davis' 2008
S&S.

How much I prefer the latter to the former. I found. Davies seeing
where Austen does go wrong, and beautiful filling ot of Brandon owes
much to Thompson's script

Ellen

I presume this will be a well- attended event, a very memorable one
next summer. I hope it will have some hybrid events, and much be put
on
YouTube eventually. Ellen

---------- Forwarded message ---------
From: Coordinator SHARP <coordinator@...>
Date: Thu, Sep 5, 2024 at 10:52?AM
Subject: [SHARP-L] Call for Papers: The Global Jane Austen
To: <sharp-l@...>


CALL FOR PAPERS



The Global Jane Austen: Celebrating and Commemorating 250 years of Jane Austen



University of Southampton, July 10-12, 2025



Austen scholars and enthusiasts are invited to the University of
Southampton, Hampshire, for a conference commemorating Austen’s birth
in the year 1775.



In 1976, Juliet McMaster introduced an edited collection of essays
resulting from a bicentenary birthday celebration for Austen in the
following terms:

To celebrate the two-hundredth anniversary of Jane Austen’s birth in
October, in Western Canada, is no doubt to be guilty of a comic
incongruity. But as though to compensate for the misdemeanor, the
papers delivered at the conference have a common and exact focus on
period and locale.

50 years after the bicentenary conference at the University of Alberta
in Edmonton, the scholarly landscape of Austen studies has changed.
Where many monographs and edited collections of essays still maintain
an ‘exact focus on period and locale’, research informed by book
history, the material, archival and linguistic turns in literary
criticism, postcolonial studies and adaptation theory (among others)
has flourished in the intervening decades. The ever-expanding corpus
of adaptations, sequels and prequels has proven fruitful territory for
a consideration of Austen’s reception, in its broadest sense. Austen’s
transformations into other languages and into other cultures make her
a Global author.



We invite the international community to the port city that was Jane
Austen’s home from 1806-1809 for a consideration of the Global Jane
Austen. We encourage the broadest possible interpretation of the
conference theme, and welcome papers on all aspects of Austen’s
writing and life, her posthumous reception, her influences, and her
writing alongside that of her contemporaries. We particularly welcome
papers on adaptations, translations and creative responses to Austen’s
work (written and/or performed in all languages), material and textual
transmission of her works, and her reception and reputation in
countries outside the Anglophone world. Discussion of the Global
within her works (and those of her contemporaries) is equally
acceptable.

We have a small amount of funding available to support postgraduate,
Early Career Scholars, scholars with no institutional support, and
scholars from outside the Anglophone world. Please note on your
abstract if you fall into one of these categories, and would like to
be considered for such funding.



Submission



Please submit abstracts for individual papers of 250 words, or
proposals for 3-person panels of 1000 words, to the conference
organisers, Gillian Dow and Katie Halsey. Please submit as Word or PDF
documents by email to both G.Dow@...
andkatherine.halsey@... by 1 October 2024.





Confirmed Speakers Include:

Susan Allen Ford; Serena Baiesi, Janine Barchas; Jennie Batchelor;
Annika Bautz; Isabelle Bour; Joe Bray; Linda Bree; Inger Brody;
Valérie Cossy; Richard Cronin; Carlotta Farese; Susannah Fullerton;
Sayre Greenfield; Isobel Grundy; Christine Kenyon Jones; Freya
Johnston; Michael Kramp; Devoney Looser; Deidre Lynch; Anthony Mandal;
Juliet McMaster; Marie Nedregotten S?rb?; Peter Sabor; Diego Saglia;
Rebecca Smith; Jane Stabler; Kathryn Sutherland; Bharat Tandon; Janet
Todd; Anne Toner; Linda Troost; Juliette Wells.



Further details at:

I thought it was generally accepted that both S&S and P&P were first
written as epistolary novels. That was the general mode of novels at the
time those were written ,though authors were starting to change to the
narrative form. My history of the novel class was long ago and didn't
include Austen so the history of her writings came from other sources.

Thanks for this, Ellen. Looks like an interesting analysis.

The book now appears to be on ’sale’ for $35, fyi …

Dorothy





Re: [18thCWorlds] Collins Hemingway's blog on S&S as originally epistolary
From: Ellen Moody <mailto:ellen.moody@...?subject=Re:%20%5B18thCWorlds%5D%20Collins%20Hemingway%27s%20blog%20on%20S%26S%20as%20originally%20epistolary>
Date: Mon, 02 Sep 2024 11:27:28 PDT
After all $49 too high for me. Ellen

Still too high it's selling at Jane Austen Books (online bookstore)
for $31. It will come down. I am going to the JASNa this year --
virtually. It's the only way I can.
It is much cheaper virtually and Jane Austen Books always has a set up
there -- often with discounts. I see two others I'm reading just now
-- one I got after the York
virtual festival -- She played and sang, about Austen and music, her
playing and in the books.

Ellen

On Tue, Sep 3, 2024 at 9:40?AM Tyler Tichelaar via groups.io
<tyler@...> wrote:

I also was impressed with the blog by Hemingway and very interested in the idea Austen's Sense and Sensibility began as an epistolary novel. I was also planning to read the book but admit $49.95 is a ridiculous price for a paperback. Even the ebook is $29.95, but I might decide to read that. In time, maybe some used copies will surface for yes. I definitely want to know more about Austen as a writer and how she worked her craft.

Tyler

After all $49 too high for me. Ellen

On Mon, Sep 2, 2024 at 2:13?PM Ellen Moody via groups.io
<ellen.moody@...> wrote:

and his well thought out reading of Austen in his book.

Of course I think the first a marvel because I wrote & published a
paper in Philological Quarterly demonstrating (I thought) from the
characteristics of the extant texts the first version of P&P was
epistolary. I shall buy his book. I wonder if people remember he was
for a short while on Janeites?



I think this true of P&P too, of the later parts of MP. Also that the
timeline of Persuasion shows it was meant to have a third volume.

I'll buy the book too

Ellen

I've written a new blog about some reviews I'm working on, some essays
published, and yet another sequel -- all out of Austen.

The subject death, aging, illness -- and more neutrally water and spas
in Austen and the use of an ironic author-narrator. Austen and Death:
widows and widowers; Ashford's The Mysterious Death



Ellen

Thanks for remembering Cousin Eliot's wife. I had forgotten her.
Yes, it is a significant death. Now, the absence of Mr. Clay is somewhat
more ambiguous.. Some say she definitely is a widow with two children and
others claim she has been divorced. However, a divorced woman couldn't
have custody of her children, so Mrs. Clay is a widow who dumps her
children on her father.
Nancy

On Mon, Aug 26, 2024 at 2:40?PM Dorothy Gannon via groups.io
<dorothy.gannon@...> wrote:

Nancy, I would add to the list of deaths in Persuasion the death of Mr
Elliot’s wife (do we ever learn her name?), which sets off a second cascade
of events in the novel.

I agree the the early scenes of the Emma television series (with Romola
Garai) highlights all of these early deaths that dramatically alter the
lives of the children involved. It’s striking.

Nancy, I would add to the list of deaths in Persuasion the death of Mr Elliot’s wife (do we ever learn her name?), which sets off a second cascade of events in the novel.

I agree the the early scenes of the Emma television series (with Romola Garai) highlights all of these early deaths that dramatically alter the lives of the children involved. It’s striking.

A side note: I first watched the series some years ago, I never clocked a small tweak the writers made to the story. In the TV series, young Jane Fairfax is perhaps three years old when she’s taken from her aunt and grandmother and handed over to her benefactor – and I’m not sure how they managed to get the child’s expression of resolute sorrow for those scenes, which are pretty heart-wrenching.

In the novel, Jane Fairfax is something like ten years old and has already visited the family and become friends with the daughter before she is taken.

Dorothy


Nancy wrote:
In Northanger Abbey, it is Mrs. Tilney's death has hovers over the story.
Though I disagree with Arnie that this death was a protest against multiple
pregnancies,I do agree that it is a necessary background for Elinor
andCatherine.
In Sense and Sensibility , the death of Mr. Dashwood sets the novel in
motion.The death of the Uncle has an effect in that the man left his money
to 4 year old, though the girls' father succeeded to the estate. The novel
would have been entirely different if he had lived to accrue a fortune.
Off hand , I can't think of a death in P &P unless that of Darcy's father
In Mansfield Park it is actually the death of Mr. Norris that affects the
plot.
In Persuasion, the death of the baronet's infant son, and his wife affect
that family. However, the death that draws the most notice is the death of
Richard, and the commentary on the "fat sighs." That incident and death
has probably been discussed most often.
I saved Emma for last because that book is preceded by several deaths.
Emma's mother, Harriet's mother, Frank's mother, Jane's parents are dead
when the story begins, I liked the opening scenes of the movie that
opened with scenes of several funerals.
In Austen's life, it was the death of her father that changed her life
dramatically.

No shadow story, in the story all can read.
Nancy

On Mon, Aug 26, 2024 at 1:52?PM Arnie Perlstein via groups.io
<arnieperlstein@...> wrote:

Now, now.....if you'd like to discuss the significant roles of John and
Isabella in the shadow story of the novel, you only have to ask..... ;)

ARNIE

On Mon, Aug 26, 2024 at 10:50?AM Nancy Mayer via groups.io
<regencyresearcher@...> wrote:

That is a rather anemic reply from you, Arnie. I rather expected
something moe profound and subterranean
Nancy.

Up until 1835 when it became absolutely forbidden, church law disliked
marriages between a man and his deceased wife's sister, or a widow and her
deceased husband's brother. However, there were no laws against siblings
marrying siblings. That is two brothers could marry two sisters.
In many cases, marriages gave inlaws the same status as birth relatives. A
wife's parents became the husband's parents and he couldn't marry his
wife's mother , if his wife died, That marriage would be void. However,
until 1835, if he married his dead wife's sister, that marriage was only
voidable while both lived. It could easily be annulled.
Nancy

Now, now.....if you'd like to discuss the significant roles of John and
Isabella in the shadow story of the novel, you only have to ask..... ;)

ARNIE

On Mon, Aug 26, 2024 at 10:50?AM Nancy Mayer via groups.io
<regencyresearcher@...> wrote:

That is a rather anemic reply from you, Arnie. I rather expected
something moe profound and subterranean
Nancy.

On Mon, Aug 26, 2024 at 1:48?PM Arnie Perlstein via groups.io
<arnieperlstein@...> wrote:

It trivializes the story to dumb it down to a simple romance between Emma
and Knightley - I would argue that the supporting character cast is more
important in Emma than in any Austen novel - it’s Austen’s richest

tapestry.

What a shame that it gets hacked down so significantly by Gordin. I would
imagine it would be hard for any true Janeite to endure watching it.

Arnie

That is a rather anemic reply from you, Arnie. I rather expected
something moe profound and subterranean
Nancy.

On Mon, Aug 26, 2024 at 1:48?PM Arnie Perlstein via groups.io
<arnieperlstein@...> wrote:

It trivializes the story to dumb it down to a simple romance between Emma
and Knightley - I would argue that the supporting character cast is more
important in Emma than in any Austen novel - it’s Austen’s richest tapestry.

What a shame that it gets hacked down so significantly by Gordin. I would
imagine it would be hard for any true Janeite to endure watching it.

Arnie

It trivializes the story to dumb it down to a simple romance between Emma and Knightley - I would argue that the supporting character cast is more important in Emma than in any Austen novel - it’s Austen’s richest tapestry.

What a shame that it gets hacked down so significantly by Gordin. I would imagine it would be hard for any true Janeite to endure watching it.

Arnie

I haven't seen the musical nor read anything about it except for the
Convesation between Arnie and Ellen. However, I can see the story of Emma
without Mr. and Mrs. John Knightley. There have been readers who have felt
that the scenes with that family could easily be omitted without any great
loss to the story. Their argument is that the visit does nothing to
further any romance , to change Emma's behaviour, or to show
George Knightley's preferences. Going to dine with the Westons and the
hurried trip home could have happened without them. One might suggest that
Emma's comment as "we are not so much brother and sister" might be a
significant statement-- for Austen's original readers , but it goes right
over the heads of most of modern day readers.


On Mon, Aug 26, 2024 at 1:26?PM Arnie Perlstein via groups.io
<arnieperlstein@...> wrote:

ELLEN: "Have you seen the musical, Arnie. Is Mr Knightley in it?"

I have not but as Susan B wrote in your other group, it is inconceivable
that Knightley would not be in it.

ELLEN: " If Gordin means "Knightley and Emma's brother and sister to mean
Knightley's brother and Emma's sister, that is what Gordon should have
written. As written, he has written badly, wrongly, carelessly. "

Indeed, it was sloppy. And, I might add, it shows Gordin to have a
Philistine perspective on the rich depths of *Emma*, for him to so
cavalierly consign those 2 significant supporting characters to the
circular file.

ARNIE

On Mon, Aug 26, 2024 at 12:04?PM Arnie Perlstein via groups.io
<arnieperlstein@...> wrote:

Ellen,

This is just a case of ambiguous syntax -

“I didn’t need Knightley and Emma’s brother and sister” should more

clearly have been written “I didn’t need Knightley s brother or Emma’s
蝉颈蝉迟别谤”.

One ironic caveat: ambiguous sentences like that were sometimes

deliberately used by Austen in her fiction in order to lead to two
alternative, plausible meanings.

But I’m pretty sure Paul Gordin was just careless.

Arnie

On Aug 26, 2024, at 6:44?AM, Ellen Moody via groups.io <ellen.moody=

[email protected]> wrote:

?Susan, I admit I didn't read it carefully. I also have seen other
stage adaptations of Austen which omit central characters -- or worse
yet, add new ones.
These musicals are or me by definition not true in any deep sense to

Austen.

She wrote ironic satire, not romantic comedy and there is no Utopian
vision anywhere, which is the core of most musicals.

Ellen

On Mon, Aug 26, 2024 at 9:39?AM Susan B via groups.io
<smbiddle15@...> wrote:

Quote: "With Emma, it was immediately apparent to me that I didn’t

need Knightley and Emma’s brother and sister, who are a large part of the
novel. They would be mentioned, of course, but I didn’t need them to
appear, and the musical works quite well without them."

How on earth do you do anything true to Emma without Mr Knightley?!

And as far as I recall, Emma doesn't have a brother - just her sister who
is married to Knightley's brother ... or does the writer mean Emma's
brother-in-law, (John) Knightley?

Susan

On Mon, 26 Aug 2024 at 13:49, Ellen Moody via groups.io

<ellen.moody@...> wrote:

Today Sarah Emsley hosts Paul Gordin, the writer of The recent
successful musical made from Sense and Sensibility; if you read

with

care you will find she has linked in reviews of her book on Austen
Jane Austen's Philosophy of the Virtues and her edition for

Broadview

Press of Edith Wharton's Custom of the Country:

Posted by Ellen

ELLEN: "Have you seen the musical, Arnie. Is Mr Knightley in it?"

I have not but as Susan B wrote in your other group, it is inconceivable
that Knightley would not be in it.

ELLEN: " If Gordin means "Knightley and Emma's brother and sister to mean
Knightley's brother and Emma's sister, that is what Gordon should have
written. As written, he has written badly, wrongly, carelessly. "

Indeed, it was sloppy. And, I might add, it shows Gordin to have a
Philistine perspective on the rich depths of *Emma*, for him to so
cavalierly consign those 2 significant supporting characters to the
circular file.

ARNIE

Nancy has seen my essay-review on academia..edu, which advertises the review, essays & other materials put there. I had meant to make a brief blog introducing the review and giving more context. I am reviewing an essay, not a book; it's for Scriblerian; I have written on Jane Austen's ayttitudes towards death in an essay I sumitted to Persuasions; it ws not rejected, but by the time I would have satisfied all the editor's queries and objections, my essay would have taken on a very different tone. Some might say it'd more balanced. I didn't want it to be balanced. She ojected to one of my sources, and there is no way I could make that source more objective so I might have had to omit it. In other words, it would haved ended up a different essay. I was teaching for money at the time and Jim had died very recently, my computer hd given up its ghost, my car been totalledso I gave it up. Today I might try to revise (because the opening on widowd and widowers in Austen was left unobjcted to), but I was impatient, grief-striken and bereft as a new widow and personally involved with my topic. As is, it's been read many times. I've never seen it cited but I've never seen any of my conventionally published essays cited.

I'll write the blog tonight and link in both pieces, Jane Austen and Death and Widows and Widowers in Austen.

Thanks for the citation Nancy as answering you has made me write out some of what lay inchoate in my mind so the blog will come easy tonight.

Ellen