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> that is the characters write at such length as to allow the > author to dive into his or her subconscious, reach that part of the > mind from which dreams come. Why do you think that the author is diving into his or her subconscious in these cases? > Begin forwarded message: > > From: "Ellen Moody via groups.io" <ellen.moody@...> > Subject: Re: [Janeites] No scenes of Jane & Bingley, of Brandon & Marianne walking, talking &c > Date: 20 May 2025 at 22:54:23 BST > To: [email protected] > Resent-From: ellen.moody@... > Reply-To: [email protected] > > Why thank you, Dorothy. I saw your email earlier today about the > prevalence of dramatic dialogue or narrative in parts of P&P. These > are found everywhere in epistolary novels, which when they really "get > going;" that is the characters write at such length as to allow the > author to dive into his or her subconscious, reach that part of the > mind from which dreams come. In Clarissa after a while no one could do > anything else, but write day and night, and still there would not be > enough time t write that much. The same holds true for Grandison, > Rousseau's La Nouvelle Heloise and others. > > I cannot remember when I first read S&S to tell you where I was but I > had read it and P&P by the time I was 13. The scene that riveted me > was the one where Lucy Steele "confides" in Elior that she & Edward > have been engaged for four years. I felt all Elinor's stunned shock, > disbelief at first, grief in the following chapters where we enter > into her thinking about it.Davies conception absolutely depends on > Thompson's screenplay and the 1996 movie > > Here is a blog where I wrote out my thinking about P&P > > https://reveriesunderthesignofausten.wordpress.com/2012/06/26/tick-tick-tick-tick-epistolarypptuesdaypatternincessanttimeclocking/ > > http://www.jimandellen.org/austen/p&p.calendar.html > > Here are all the calendars: > > http://www.jimandellen.org/austen/emcalendars.html > > I rejoice we have gotten friendly here on Janeites > > Ellen > > On Tue, May 20, 2025 at 4:57 PM Dorothy Gannon via groups.io > <dorothy.gannon@...> wrote: >> >> Ellen, I’m fascinated by your thoughts on the process of creating and revising the novels. I have a vivid recollection of where I was the first time I read S&S (perhaps the only one of Austen’s novels for which that is the case) at the moment when it is revealed that it is Edward’s brother who married Lucy Steele, when suddenly, bam! - the melancholy story abruptly turns into a happy ending. Well, I didn’t see *that* coming, was my thought. >> >> Yes, I just rewatched the Davies S&S and noticed how he plumped the role of Brandon out even beyond what Thompson accomplished in her screenplay – and I think Davies’s version owes a lot to hers. It’s fascinating how much they added to the character of Brandon. >> >> I wasn’t able to get to your webpage, Ellen, when I began writing this note, but look forward to reading it after I return home. >> >> Dorothy >> >> >> >> >> >> Ellen wrote: >> >> In response to Dorothy, >> >> Well I'm an interested party. I wrote and published one paper >> ferreting out the underlying calendar of S&S; the other 6 I did it was >> too much ( lifetime) to try to write up essays so I just place them on >> my website: >> >> http://www.jimandellen.org/austen/emcalendars.html >> >> From these intensive studies I concluded S&S and P&P originally >> epistolary novels, and whole parts of MP (especially between >> Portsmouth, London, the house), and that Persuasion is seriously >> unfinished -- it was to have a third volume. I also felt I saw gaps >> showing where sutures happened. >> >> Austen herself said she drastically cut P&P because she was determined >> it should be published. Remember she was waiting 30 years ... NA first >> finished 13 years ago when she wrote present preface >> >> Anyway (I put this in a blog on the calendar for P&P) I noticed Volume >> I had very short chapters, much shorter than those of Vol 2 and 3. One >> way to lop and chop once you know what is primary is cut the talk and >> dance scene

I’ve now watched the first 3 episodes - I enjoyed these little interviews with all the actors: https://www.bbc.com/mediacentre/mediapacks/miss-austen It's particularly interesting to read the very careful, hedged comments about the extremely unflattering portrayals of James and Mary Lloyd Austen in Miss Austen. It's gratifying to me to finally see at least some honest depiction of inconvenient truths about what really happened in the Austen family saga, and I would imagine that there are a number of descendants of James and Mary Austen out there who are not happy with how their matriarch and patriarch are depicted. For a fuller picture of what I dubbed "The Massacre of Steventon", check out these blog posts of mine from way back when: https://sharpelvessociety.blogspot.com/2012/04/half-years-residence-in-her-family.html https://sharpelvessociety.blogspot.com/2017/01/even-more-of-shadow-stories-of-jane.html And as to James as the wannabe poseur writer whose puny skills were dwarfed by his little sister's, the following reminds me that David Nokes's excellent bio of Jane Austen was perhaps the first to take the proper measure of James Austen's literary pretensions: https://sharpelvessociety.blogspot.com/2009/11/luke-lickspittle-sophia-sentiment-and.html ARNIE P.S.: That unhappiness also perhaps goes, to a lesser extent, for some descendants of Edward Austen Knight and his wife Elizabeth, given that the latter is portrayed as a mean-spirited ogre who treated Cassandra Austen as a kind of servant whom she entraps into servitude as nanny to a quintet of her young children, until Jane in effect bails Cassandra out.

DOROTHY: "Arnie, I love the quotation that began your researches." Glad you enjoyed it, Dorothy! DOROTHY: "I think the closest JA came to the idea you were looking for comes at the return of Jane and Elizabeth from Netherfield, early in the novel: "They were not welcomed home very cordially by their mother. Mrs. Bennet wondered at their coming, and thought them very wrong to give so much trouble, and was sure Jane would have caught cold again. But their father, though very laconic in his expressions of pleasure, was really glad to see them; he had felt their importance in the family circle. The evening conversation, when they were all assembled, had lost much of its animation, and almost all its sense by the absence of Jane and Elizabeth." Bravo, Dorothy! Your excellent catch makes it clear that Davies imported that narration about their return from Netherfield, and then turned it into dialog about their return from London and Hunsford, respectively. DOROTHY: "As for adaptations getting it right, I can think of a couple. In the 1995 P&P, someone on Austen-L pointed out at the time that only a portion of the novel’s text depicting the famous proposal scene is given in dialog; much is simply described. Of course, the screenwriter didn’t have that luxury! Someone printed a transcript of the scene for a side-by-side comparison, and it was impressive how Andrew Davies managed to convey the scene in dialog." Indeed, that was brilliantly done by him and/or whoever else was on his screenwriting team. DOROTHY: "Another beautiful example, from another film, is Emma Thompson’s "Sense and Sensibility," which smoothly covered some of the novel’s flaws and rounded out characters who would otherwise have little screen time – Edward Ferrers and Colonel Brandon." I agree that Thompson created brilliant, memorable dialog for Edward and the Colonel - however I don't consider that a flaw of the novel - I believe Austen deliberately rendered them both un-eloquent. ARNIE

In response to Dorothy, Well I'm an interested party. I wrote and published one paper ferreting out the underlying calendar of S&S; the other 6 I did it was too much ( lifetime) to try to write up essays so I just place them on my website: http://www.jimandellen.org/austen/emcalendars.html From these intensive studies I concluded S&S and P&P originally epistolary novels, and whole parts of MP (especially between Portsmouth, London, the house), and that Persuasion is seriously unfinished -- it was to have a third volume. I also felt I saw gaps showing where sutures happened. Austen herself said she drastically cut P&P because she was determined it should be published. Remember she was waiting 30 years ... NA first finished 13 years ago when she wrote present preface Anyway (I put this in a blog on the calendar for P&P) I noticed Volume I had very short chapters, much shorter than those of Vol 2 and 3. One way to lop and chop once you know what is primary is cut the talk and dance scenes themselves between Jane & Bingley; just leave narrative. They are not the major couple; linchpins are in Elizabeths (proposals) and Lydia's story (elopement) I think S&S is a book too revised, over revised so to speak. I'm not sure she knew how she meant to end it. Read carefully and you discover what Thompson did for her film: Brandon silent, often not there, the favored presence Wlloughby; nonetheless, it's Brandon to the rescue each time -- the assembly dance, Marianne's near mortal illness, retrieving her from the storm, retrieving the mother to be there, then it is he who knows and was involved in the story of Willoughby & Eliza 2. Elinor right; there is something that needs to be explained in Willoughby's obsessive nasty attacks, mocking of Brandon. We attack a person we know we have badly wronged (see Mrs Norris' behavior to Fanny). Yes just a sentence, but a real duel. So I think that the last 3 chapters are short, especially that final one. generalized, truncated, actually written very late (To have an ending) around 1811. Then Thompson and after her Davies builds up Brandon enormously. So here we are -- she & Davies added scenes of conversations and lengthened what was there for Brandon. Go to book. Almost none of it is is there, no one-on-one conversations Ellen On Sat, May 17, 2025 at 5:03 PM Dorothy Gannon via groups.io <dorothy.gannon@...> wrote: > > Ellen writes: > I find it interesting there are no scenes in S&S of Marianne talking with Brandon because similarly there are no scenes in P&P of Jane and Bingley talking to one another. Yet the pairs love one another and marry at books’ endings. > > > True, Ellen. Strange, I’d never noticed that we see no actual dialog between Bingley and Jane. Maybe because, in their case, we’re told over and over that they do talk, though no dialog is given; everybody, not just Elizabeth, notices that they’re frequently somewhere off to the side talking, in a room ignoring everyone else, sitting next to one another at dinner. Deep in conversation when Elizabeth discovers them by the mantlepiece just after Bingley's proposal. We also get some reports from Jane. So their coming together at the end feels natural, like the closing of a circle. > > Less so in S&S, where it seems the strong esteem and lively friendship Marianne develops for Brandon happens offstage, so to speak, after the main action of the story. > > I think JA wrote only the bare bones, the essence of the story she wanted to tell. And she only wrote what really interested her. > > Dorothy > > > > > > > > > > > >

I know most of the people because I xeroxed (this was before the Internet became ubiquitous) a very thick volume of letters, documents, diaries put together by her brother's son and a grandson and then read it. I think it's now an expensive facsimile reprint. I also bought and read several of the biographies of the family as a group and individuals. I still don't know them all. Those in the novel are identified and their relationship to one another briefly described. There was an Isabella and a Dr Nidderdale. The romance by the seashore was written vaguely; no name was ever given. Two more suitors beyond Lefroy and Biggs-Wither are in the letters but the flirtation or attachment or relationship or whatever you want to call it came earlier. Ellen On Mon, May 19, 2025 at 7:44 PM Tyler Tichelaar via groups.io <tyler@...> wrote: > > I never have enough time either, Ellen. I am also enjoying Miss Austen, though I find it a bit hard to keep track of the characters and the family connections. It does make me want to read Austen's letters. > > Tyler >

I watched art 2 last night. o have to let yourself "go" be immersed. I found it powerful. I am glad of these hitherto "obscure" characters (members of the Austen clan, extended) particularly the new mals, e.g. Dr Liddderdale. Like Wolf Hall 2, which I'm watching at the same time, they are threading in actors of color subtly, carefully. There were none in previous seasons of both. I thought the choices were very well done as they did in that latest Persuasion). The black British woman playing Lady Russell she brought to life as both tyrannical but meaning well. The young black woman playing Jane Seymore's younger sister, It is so hard not finding enough time to do all I want to do :) Here reread Miss Austen and read her Godmersham Park (Anne Sharp the heroine). Tired even before I begin, Ellen

The Moonstone: a schedule and links and pictures" https://ellenandjim.wordpress.com/2025/05/16/a-little-wilkie-collins-in-the-night-trollopepeers-groups-io-are-reading-the-moonstone-together/ Ellen

The other day, a random quotation in my Twitter feed caught my eye: “Every day, we should hear at least one little song, read one good poem, see one exquisite picture, and, if possible, speak a few sensible words.” – Goethe, Book 5, Chapter 1, *Wilhelm Meister’s Apprenticeship* I don’t know about you, but that immediately reminded me of a memorable line in *Pride & Prejudice*, spoken by Mr. Bennet to Elizabeth, just before she leaves for Hunsford in Chapter 27. I could hear in my mind’s ear that line spoken by Mr. Bennet, to the effect that, with both Elizabeth and Jane traveling, he would not hear two sensible words spoken together during their absence. So I wondered, might this be allusion to Goethe’s famous 1795 novel? However, I then learned that it was apparently not translated into English until after JA’s death. So, how could that have happened? I went looking for that line in the text of P&P, and I couldn’t find it –- and that sent me to the transcription of the 1995 film adaptation, where I found it: MR. BENNET: Well, Lizzy, on pleasure bent again. Never a thought of what your poor parents will suffer in your absence? ELIZABETH: It is a pleasure I could well forego, father, as I think you know. But I shall be happy to see Charlotte. MR. BENNET: What of your cousin Mr Collins and the famous Lady Catherine de Bourgh? As a connoisseur of human folly, I thought you impatient to be savouring these delights. ELIZABETH: Of some delights, I believe, sir, a little goes a long way. MR. BENNET: Yes. Well, think of me, Lizzy. *Until you or your sister Jane return, I shall not hear two words of sense spoken together.* You'll be very much missed, my dear. Very well, very well. Go along then. Get along with you. I went back to that same point in the text of P&P, and that’s where I found the following parallel narration: “The only pain was in leaving her father, who would certainly miss her, and who, when it came to the point, so little liked her going, that he told her to write to him, and almost promised to answer her letter.” It made me realize that this was one of the few instances in which I have found an adaptor of Austen doing such a great job, that they equalled Austen’s gift, especially in P&P, for dialog. So I finish by throwing a question to the group –- can you think of any other instances in which you have taken note of an adaptation getting it just right in dramatizing a scene? Cheers, ARNIE

Austen Variations: Todd Living with Austen; Miss Austen book into film, a draft Comments on blog in blog's section for comments very welcome; will be taken into account in final copy https://reveriesunderthesignofausten.wordpress.com/2025/05/06/austen-variations-todds-living-with-austen-hornbys-novel-memoir-miss-austen-into-walsh-gibbs-tv-serial-miss-austen/ Ellen

I've just watched Episode 1, and I give it an A, it was surprisingly excellent. How close it is to actual history, I am not so sure, but Gill Hornby has done such a brilliant job, and the acting in all the roles is pitch perfect, so it's worth watching regardless of how accurate it is. I eagerly look forward to seeing the whole series. ARNIE

Have I said I bought a book about Bella da Costa for Izzy on her 1st birthday, May 8 https://www.amazon.com/dp/1636811353?psc=1... A review which tells her life https://www.the-tls.co.uk/arts/visual-arts/belle-da-costa-greene-arts-review-laura-kolb An obsessive theme of black women writers of the 1920s is passing as white. I used to research Richardson there. I've seen original manuscripts of Grandison. They are having a week's worth of events on Jane Austen for her 250 birthday. If I could really walk, I'd go. There are online classes. I have to sign up. Alas, it's Eventbrite and I often fail to reach their online stufh. I can't get the hang of it https://www.themorgan.org/exhibitions/lively-mind-jane-austen-250 Ellen

Soon I'll be rereading John Wood Sweet's Sewing Girl's Tale and may reread Judith Moore's The Appearance of Truth for the upcoming 4 week course I'm teaching at OLLI at AU Not far behind Winifred Holyby's outh Riding, to be followed by Vera Britain's The Dark Tide, for the summer 6 week course I'll be teaching at OLLI at Mason Andrea and I are exploring Anna Seghers and Christa Wolf in our weekend zoom. It is a genuine wonder to me why so few courses in women's literature are taught at any of the OLLIs I teach at or attend. Or Politics and Prose? The people at OLLI at York keep trying, but classes have too low enrollment and are cancelled. Why do most women seem indifferent to literary feminism? I stand out for continuing to do them frequently I try to get to Austen Variations blog I'm reading onwards ever so slowly Ellen

I'm reading this between sequels -- I might reread The Other Bennet Sister. I'm finding it very fresh, stimulating, but not sure how to blog/write about it. It seems to me Todd is doing something unusual: she comes in at an angle which is usually omitted: her gut reactions, partly founded in personal history and hr reading of other l'ecriture-femme I'd call it.This is the level that undergirds and explains a close reading or other kind of book (scholarly, source study &c) about books. The problem I'm not sure how to write coherently myself. But it is very interesting. I find my gut reactions to Austen's books were intially and still are quite different, but think hers are the more frequent. And thus it has explanatory power for me. For example my favorite heroine is Elinor Dashwood, and after that Fanny Price; the book I'd start with Sense and Sensibility. Far from finding Austen's letters captivating, I find them interestingly bitchy, resentful, always partisan. More when I've finished. I plan an omnibus blog when I finally am feeling stronger not so tired. Ellen

I used Easter calendar changes for Austen calendars, Woman in White & Clarissa. Austen erases years since her novels were revised. Necessary for epistolary & journal novels. http://www.jimandellen.org/austen/emcalendars.html My Austen calendars are used and cited by Austen readers and scholars many times. Ellen

I've been watching the superb 7 part 1978 serial written by Dennis Potter, featuring Alan Bate & Anna Massey. I read the book some years ago, and I think, like the recent Far from the Madding Crowd, featuring Carey Mulligaan, and 2018 Woman in White by Fiona Seres , Potter captures the best of the book, its moral design and inner spirit. Often recent British serials are travesties (especially when backed by US money), but when they are good, they are superb, witness the 2018 Little Women (Emily Watson as Marmee),. The Mirror and the Light, by Peter Straughn, featuring Rylance (he carries it) improves on the book. An older one hour documentary not to miss: India's Partition A Forgotten story by Gurind Chadha (Bhaji on the Beach On other hand, after all the Miss Austen serial is lugubrious, takes itself and Keeley Haws to seriously. I hated Bride & Prejudice Ellen

Maria Frawley will conduct one on Elizabeth Gaskell (5 sessions) this summer at Politics and Prose: North and South, Cranford Ellen

I mention them more often because I can't cover as much, and sometimes am behind or skip a given group read. So I tell of these others as sometimes they are the same kind of book Beyond Duke's Children restored, I'm reading The Bertrams for another Trollope group, and following a favorite FB group of readers (TWWRN) by watching a 1978 many episode Mayor of Casterbridge, and I read all the postings, and try toget to the text. In some ways it seems to me far more interesting than some of the more famous Hardys. The script is by Dennis Potter!. I do find that often a superb adaptation can improve on the book. I've now begun Forster's A Passage to India for my teaching, and am reading about the Raj, Anglo-Indian lit. I love it. Last night a terrific documentary by Gurinder Chad on India's Partition: The Forgotten (pr distorted) story On my own for sheer pleasure: Janet Todd's Living with Austen. She really is intelligent, the one is wonderfully relaxed. I often disagree but she separates her views from the text. That's unusual A feminist biography of Vera Brittain The Mirror and the Light by Mantel -- along with delving into the women therein (Anne of Cleves, Katherine Howard) to discover why Cromwell was beheaded,and I believe I've understood. He was in the crosshairs of Henry's deranged sexual anxiety and deep shame because he was often impotent, More on this Sunday night. I've had to put aside for a couple of Week's Outlander 3, Voyager but I'll get back to her, Ditto an excellent fictional biography of Water Scott: Ragged Lion And I attend a very few classes Ellen On Sat, Apr 12, 2025 at 11:06 AM Tyler Tichelaar via groups.io <tyler@...> wrote: > > Ellen often mentions her other projects and books she's reading. Since it's the month of Shakespeare's birthday, I am reading Stephen Greenblatt's Will in the World: How Shakespeare Became Shakespeare. It is quite interesting though a lot is supposition trying to fill in the likely possibilities of what happened in his life since we know so little of his biography. I also plan to read a couple of his plays before the month is out - probably Cymbeline and Timon of Athens, which I've never read before. > > I've also been reading Louis Couperus' novels. I just finished Old People and The Things That Pass and think it a true masterpiece about two elderly people with a dark secret and how that effects both of their families. He is known as one of the greatest Dutch authors and far more readable than Multali and Max Havelaar. > > Tyler >

> ? > Dolly Alderton to Write Pride and Prejudice Starring Emma Corrin and Jack Lowden > > The actors and Olivia Colman will star in the new six-part series adaptation. > > https://www.netflix.com/tudum/articles/pride-and-prejudice-cast-photos-release-date-news > > > -- > Rory O'Farrell <ofarrwrk@...> I have not liked last couple of faithful type aausten movies. I didn’t like their exaggerations nor shallow comic tone. Olivia Coleman must go along. The movie where she played Queen Anne was an obscene travesty, basically misogynistic. It won many awards I recall. Ellen

I'm reading it and it's excellent. I also recommend as the best book on Austen I've read in a long time, Janet Todd's Living with Jane Austen ---------- Forwarded message --------- From: Thornfield Hall <comment-reply@...> Date: Fri, Apr 11, 2025 at 1:02 AM Subject: Excuse Me, Jane Austen, and Rediscovering “The Bertrams” To: <ellen.moody@...> “It is a truth universally acknowledged, that a woman in possession of a computer, needs to spend less screen time.” Excuse me, Jane Austen. I NEED TO BREAK UP WITH THE INTERNET. And so I curled up in a cozy chair with a neglected Trollope… Read on blog <https://thornfieldhall.blog/excuse-me-jane-austen-and-rediscovering-the-bertrams/> or Reader <https://public-api.wordpress.com/bar/?stat=groovemails-events&bin=wpcom_email_click&redirect_to=https%3A%2F%2Fwww.wordpress.com%2Freader%2Fblogs%2F152652350%2Fposts%2F28565&sr=1&signature=c105db33bc5df7be544efee7252f108c&user=8072791&_e=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&_z=z> [image: Site logo image] Thornfield Hall <https://thornfieldhall.blog> Read on blog <https://thornfieldhall.blog/excuse-me-jane-austen-and-rediscovering-the-bertrams/> or Reader <https://public-api.wordpress.com/bar/?stat=groovemails-events&bin=wpcom_email_click&redirect_to=https%3A%2F%2Fwww.wordpress.com%2Freader%2Fblogs%2F152652350%2Fposts%2F28565&sr=1&signature=c105db33bc5df7be544efee7252f108c&user=8072791&_e=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&_z=z> Excuse Me, Jane Austen, and Rediscovering “The Bertrams” <https://publ