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violetasteracademic · 2 months ago

Note

Why do you think gwyn would be added as a love interest for azriel if they don’t end up as endgame? Why complicate the love triangle between elain/lucien/azriel?

Hello my lovely anon!

It can sometimes be hard to tell where the anonymous asks in my inbox are coming from. It is never my intention to argue or try to convince any other ships why they are wrong. I tag my work very carefully, ask my beloved rebloggers to do the same, and just want to stay in a cozy bubble. I think all ships are allowed, and the time I spend here breaking down the text and providing analysis is only for fun and comfort. I don't ever want or wish for my posts to end up in the wrong tags. Now that I've gotten that disclaimer out of the way, this is an ask where I can't *totally* tell what perspective it is coming from, but I am assuming it is being asked in good faith and I will answer how I typically do.

Point blank, I do not believe G/wyn was introduced as a love interest. Only Elain was.

I don't really know that I have anything else to add to that conversation, because people either think it was romantic or it wasn't. But I will say that I assume we can all agree on all sides that the bonus chapter is what led to the fervor of the G/wynriel ship as G/wyn quite literally replacing Elain as the romantic interest and not just a fun, enjoyable ship for those who don't jive with Elriel and want to carve out a space for themselves in the fandom. And as someone who has read all of SJM's bonus chapters and not just this one, I'm going to provide side by side comparisons using *only* bonus chapters that I can almost guarantee many people have not read- since most people don't read the bonus chapters. I still get comments on old tiktoks every day asking what the Azriel bonus chapter is and where to find it. And not once have I ever been asked about the myriad of other BC's out there.

Crescent City Spoilers ahead:

House of Sky and Breath has three bonus chapters. There is one in particular that is almost a carbon copy of G/wyn and Azriel's portion in his POV bonus, and it is the Tharion POV chapter with Hypaxia:

^^Both men head to a place where they assumed they would be alone, minds heavy and restless and needing to work off some tension before they could sleep- only to find their space already occupied.

^^They both flounder a bit with social niceties, awkwardness, being polite, the other person clearly wanting to be alone, and yet wind up falling into a conversation anyway.

^^ Both pairs experience surprise at being asked questions no one has ever asked them before. They also reveal information about themselves- and notably- both bonus chapters reveal heavy backstory or indications about unique or hidden powers.

^^ Both men experience some sort of lingering sensation that they could have sworn was happening after saying goodnight.

And last but not least:

Both Tharion and Azriel end on a particularly strong emotional note. Tharion is passing notes through Fitz back and forth with Hypaxia. He notes how he has never had such an instant, honest, and deep connection. He won't let anyone interfere with her birthright, and if she was in danger, he would risk everything he had to protect Hypaxia.

Azriel is secretly regifting a necklace to Gwyn, and feels truly happy at the thought that it might make her happy. He likes and respects her and is glad to think of being able to make her smile. (I of course think there is a reason for this, which I've broken down here but I also don't think it's necessary to minimize their friendship for this post.)

If you look at these two bonus chapters side by side, they are literally a copy and paste. Two people needing to be alone and winding up together, talking about things they have never talked about anyone with, and both men really powerfully feeling the strength and depth of a connection. And if you read Tharion's chapter in full, there are actually way more details of him talking about how beautiful and gorgeous she is, and how he has to stop himself from going down that road. But did this set up Hypaxia and Tharion as romantic love interests?

Nope. Hypaxia is queer as queer can be. Kitty only on her menu. But they develop a very genuine and close friendship. Because the thing is, SJM writes an incredible amount of deep and meaningful friendships between men and women. And they are always a blend of emotion, intimacy, a bit fun and flirty, full of banter, and true trust and connection. So as far as BC's, Azriel and G/wyn and Tharion and Hypaxia are the only comparable ones in her catalogue. And they are pretty damn comparable. It's also important to note that the Tharion and Hypaxia bonus chapter was included in the book where she is very much revealed as 100% queer and not even a little bi, so it's not like SJM was trying to create a red herring or a conversation. That's just how she writes her hetero platonic friendships. Take it up with her, man.

Meanwhile, the things that make it clear that a romantic interest is being introduced occurs in the Elain portion, and can be directly compared to the Nessian bonus chapter. Both men being willing to beg on their knees for a taste. Both men absolutely losing their minds over Elain and Nesta's scents. Both men knowing it was wrong, it was stupid, but being unable to stop themselves anyway. Both men having issues of what their family would think if they found out introduced (only Rhys DID find out and laid down that forbidden romance hard.)

Here's the thing- many people read Elain and Azriel as romantic for over four books and there were people out there like, nah, I don't see it, they are more like brother and sister. And then the bonus chapter confirmed, no, actually, they are wildly down bad and desperate for each other. Wanting to taste and touch and kiss each other- romantic interest confirmation. Fun and banter-y conversation occurring because two people needed to be alone but actually wound up in the same vicinity as someone else and had a deep conversation and talked about things they've never spoken about with anyone before-Platonic friendship. You can disagree. But it doesn't change the fact that right now, a group of fans are interpreting G/wyn and Azriel's interactions as romantic, and preferring it to Elain and Azriel's confirmed romantic interactions.

Sarah did not add G/wyn as a love interest and complicate things. The fandom did. Until Azriel is not sleeping, not thinking clearly, down bad desperate to get on his knees for G/wyn- and until G/wyn leans into his touch and says yes, they are actually currently friends. Could that change in the future? Totally. But Sarah literally has not written it yet.

I don't mind that the G/wyn ship exists. I love her. I have real life G/wynriel friends who are not online like we are. They are good people with good hearts who have different taste in Azriel's potential romance than me. They don't ride at dawn for Elain like I do, nor are they violently misogynistic against her or being toxic and hateful towards other women online. They just liked G/wyn's story and want more of her. That's okay. But it is important to pay attention to what has actually been written vs. what is being assumed by a group of people that openly dislike the only female character remaining with a confirmed book and who has been confirmed as a love interest.

Read Sarah's other bonus chapters! They are fun. Azriel's isn't the only one that has ever existed, but it seems like that sometimes (and I'll admit, it's amazing and I love it so fair). And nothing happened in the bonus chapter that is going to change the course or foreshadow to anything new. Not everyone has access to them, and bonus chapters do not create new plot. They are just an incentive to make money and secure pre-orders.

I think that's everything! You guys are awesome for reading these insanely long posts and vibing with me here. ily.

#elriel #pro elriel #elain x azriel #tharion and hypaxia #elain and azriel

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thatscarletflycatcher · 5 days ago

Text

Annotated Editions: the case of Jane Austen's Persuasion

The other day I made a post about my poor opinion of David Shepard's annotated editions of Jane Austen's novels, specially in terms of how much praise they get in the Austen fandom. That last qualifier is important, because while in general I do think they aren't great in a vacuum, it's specifically the place of honor they get in fandom that makes my judgement harsher; not because popular=bad, but because, well, if you claim to be excellent, you should be excellent.

So I'm gonna try here to compare three annotated editions: Shepard's, Norton Critical, and Oxford World's Classics.

Let's begin with the introductions/prefaces. Prefaces are complicated, because for the most part there is a tradition in this sort of literature to treat them as a free space for an essay, basically fulfilling the role of an afterword, instead of working as an introduction, as a summary of the historical, biographical, anthropological, artistic, etc, clues that will facilitate and enrich the comprehension of the text by the reader.

How goes Shepard about his introduction to Persuasion?

There's a brief note to the reader before the preface itself explaining what kind of notes he has added to the text; so far so good.

The preface itself is roughly divided in the following sections:

a biographical sketch of Jane Austen (5-10%)

comments on the spot Persuasion occupies popularity wise in the list of Austen novels, followed by, as Shepard's argument for why it is so;

An in-depth comparative analysis of the whole plot and main characters of the novel, with other Austen novels, pointing "pros" and "cons." (90-95%)

A comment on how he thinks Austen's style would have been moving forward, disagreeing with Virginia Woolf.

The first section is useful to contextualize the work, but the second is basically spoilers + Shepard's opinions on the novel and on the novel as compared to other Austen novels; this latter part is of little or none usefulness to the reader, and even its quality as an essay has several very weak, "sloppy" points. For example, the assertion that Persuasion, like the rest of Austen's novels is a romance; not only because many would disagree, but because a good introduction would include a discussion of the genre of the novel, and for an Austen novel the discussion and explanation of the nature and tensions of romance, bildungsroman and comedy of manners is VERY important. Another weak point is the blank assertion that Austen never wrote a scene between two men alone, which is false). Another notorious absence in this introduction is the historical setting of Persuasion; it is a rarity between Austen novels in how relevant the Napoleonic Wars are for the plot and how firmly they date the narrative. Tied to this are considerations of class, and the meaning of the navy as a symbol of meritocracy and Austen's special relation to it through her family... none of which are even mentioned in this preface.

How does the Norton Critical Edition by Patricia Meyer Spacks tackle the same part?

When did Austen write the novel and when was it published.

Brief summary of currents of opinion on tone and theme of the novel.

A discussion of traditional views on the "femininity" of Persuasion.

Critical evaluation of this in relation to contemporary analysis of the ethical and the political in Austen and the novel.

Her own interpretation of the novel as an ethical study on the concept of self-love.

A brief note on the choices made for the presentation of the final text.

I do think, even by this brief summary, one can uncontroversially say this is a better preface. While it still lacks the practicality of information that is mentioned rather than explained about the context of the novel, its use of spoilers is sparse and isolated rather than extensive. No supporting references to other novels are made (which I think is a good thing, because those involve a certain requirement of familiarity for the reader), and while the personal interpretation of the editor is presented, it is not an opinion on why Persuasion is popular, but a reference, a way for the reader to organize and approach the text of the novel.

Now on to Oxford World's Classics, introduction and notes by Deidre Shauna Lynch.

Napoleon and the briefest historical context he provides for the novel

An analysis of Persuasion's uniqueness in the Austen canon through the character of Anne

The permanence/change break through the changed roles of houses and the predominance of travel in comparison to previous novels

The role of memory and with this a tieback to continue elaborating on the historical context of the Napoleonic Wars in England and the cultural change it brought in the understanding of History

Persuasion as a sequel-like novel, for which a main interpretative key is that of History and Memory

A stronger attention on aging and disability

The interrelation between war history and social history in the novel, and the time frame of the events

More elaboration on the theme of past and present and personal history, with a contrast between Sir Walter's reading of the baronetage and Anne's reading of the newspapers

An interpretation of Persuasion as commentary on Sir Walter Scott's restoration plots; Wentworth and Mr. Elliot as two forms of return of the past.

An analysis of The ConversationTM between Anne and Harville still on the theme of personal history.

A comparison between the two endings of the novel

The assertion that the novel isn't melancholy and nostalgic in the end, but open to the future

This introduction is much more meandering and essay-like than the Norton one, and in that way much closer to Shepard's, in its use of spoilers and commentary on a text the reader is unfamiliar with. It's definitely not a GoodTM introduction as introduction, but it still includes mentions of important historical context and keys to reading the text; and its commentary provides references not only to other authors writing at the time, such as Scott and Wordsworth, but of more contemporary sources as well. There is some poliphony to it beyond a mention in passing to Virginia Woolf.

Besides that, it's also worth mentioning that the volume includes a brief biography of Austen and a chronology of her life elsewhere, a full note on the text editorial choices, a selection of bibliography for further reading, and three context appendixes on rank and social status, dancing, and Austen's relationship with the navy. As much as I'd think those appendixes should have taken the place of preface and the preface a place of afterword, the information to the reader has been included.

In terms of this kind of extra, Shepard has included a chronology of the novel, maps, and pictures in his notes, which are features the other editions don't have that might be of interest; but he has not provided good contexts like the Oxford edition does, either in the introduction or as appendixes; or pieces of solid, well researched essays and contextual texts like Norton does. Both Oxford and Norton include the cancelled chapters in an annex; he doesn't.

Someone would reasonably argue that Shepard chose to include all contextual information in the notes, and here is where personal opinion comes across the strongest: I think he does it that way, not for the reader's convenience, but for the padding of the notes and to inflate the value of his role as an editor. The addition of titles to the chapters of the novel, and the repetition of notes and information serve, in my opinion, the same end. In my opinion, there is a substantial difference between providing someone contextual information before they engage with something, and giving it as the something unfolds. Your first experience of a soccer match would be entirely different if someone told you the rules of the game, the stakes of the particular match, etc, before you get to the stadium than if they were to feed them to you during the match; and I think the former is a much more satisfying and rich experience.

So, notes!

Shepard's editions have lots and lots of notes. For example, for Chapter I of Persuasion he makes 65 notes, against 9 of Norton and 15 of Oxford. A first impression would say "oh, that's a really nice lot of info!" until you stop to think if this is really such a heavy text that it requires a note every 40 words on average. That's almost two notes on the extension of this paragraph alone. Let's dig a bit more to see where are the differences in selection.

Norton's, as you might have guessed now, tend to be editions heavy on the commentary side through essays and articles, and so notes are minimal and sparse. The notes on this chapter are on "baronetage", "patents", "creations", "Dugdale", "worsting", "chaise and four", "Tattersal's", "black ribbons", and "alineable". None of the notes go over a line. Oxford includes all these, and adds "High Sheriff", "exertions of loyalty", "duodecimo", "heir presumptive", "awful legacy", "dear daughter's sake", "every ball", and "his agent". Listing all the Shepard notes would be exhausting, so let's try some general classification of the notes that aren't the ones above:

3 geographical notes that amount to "this is a place in England, see map", which are easily understood in context.

14 glossary notes which usefulness/necessity is very variable. Awful and town are very reasonable notes; one wonders the necessity of notes on bloom and independence which are easily understood by context.

This theme of usefulness extends to the rest of the general notes. That stillborns were not uncommon during Jane Austen's era, or that Austen's fabricated entry of the baronetage actually does look like an entry of the baronetage is trivial and not necessary for the understanding of the text at all. That lady Russell is the widow of a knight is something that the text will state the following chapter, and that knights ranked below baronets will be heavily implied there too. The explanation of what an old country family is literally reads as redundant. Many notes are like this: information that is trivial, explained further on in the text or easily understood through context. This is specially the case of notes like the one saying that cousin marriage wasn't illegal, that people of high status spent a lot of money showing it off, and that rich people also went into debt.

There are useful notes, but when you trim them down to the actually pertinent and useful, there aren't many more than the ones included in the Oxford edition.

Now let me take a look at some of the notes shared between Shepard and Oxford:

On patents/creations:

Shepard:

The book listed families in order of receipt of the title. Thus Sir Walter would first see the earliest patents (i.e., grants conferring the baronetcy); there would be only a “limited remnant” of them because most early baronetcies had expired by this point due to the death of all possible heirs. Sir Walter could only know this by consulting another book such as Dugdale (see note 9) and comparing its list of all baronetcies with the entries in his baronetage, for the latter would show only existing titles—that he has done this indicates how obsessed he is with the matter. This carefully acquired knowledge arouses Sir Walter to admiration for himself as the holder of a surviving baronetcy. He would later come to the many pages showing the creations, or new titles, of the last (i.e., eighteenth) century and feel contempt for their relative newness (his came from 1660; see note 12).

Oxford:

limited remnant of the earliest patents: a title was also referred to as a patent: ‘a writ conferring some exclusive right or privilege’ (Johnson). Sir Walter regrets the passing away of the families whose titles date back to the seventeenth century. James I had created the title of baronet in 1611 and had used the financial support he obtained from the baronets he created to fund his army in Northern Ireland. endless creations of the last century: Sir Walter’s contempt for the low-born recipients of the new titles that the government had distributed would extend to those who, like the commander of the Fleet, Lord Nelson (the son of a mere country clergyman), had recently been rewarded with newly created peerages for their war service.

Oxford omits information that will be said explicitly later on in the text (that the Elliot baronetcy dates from 1660), and in its place includes a very relevant example of a new patent to show why Sir Walter looks with contempt upon new creations, rather than simply repeating what the text says.

High sheriff:

Shepard:

The High Sheriff (often simply called sheriff) was, after the Lord Lieutenant, the leading official in a county, responsible for the execution of the laws. He served for one year. The position, usually held by a member of the gentry, carried great prestige and would be a source of family pride.

Oxford:

the chief representative of the Crown in county government, the High Sheriff presided over parliamentary elections and the administration of justice. Holders of the office (which is now a mainly ceremonial one) were chosen annually from among the principal land-owners of the county.

While Shepard gives me something I can gleam from the text itself (the social importance of the title) Oxford tells me what his job entailed.

The note on duodecimo is an interesting case, where technically Shepard's information is more complete, but he spreads it in such a way as to pad his note count and extension. He simply notes that it is a small book, and refers to a note on books on chapter X:

“Large” could refer to thickness but is more likely to refer to length and width. At this time books came in widely varying sizes. The principal ones were folios, in which a standard sheet of paper was folded in two to make the pages, quartos, in which the paper was folded into quarters, octavos, in which the paper was folded into eight pieces, and duodecimos, in which the paper was folded into twelve pieces. Thus the length and width of a duodecimo would be one-sixth those of a folio. The type of book would influence its size. Popular books, especially novels, tended to come in smaller sizes, while serious, scholarly ones were usually larger. Thus the size of Charles Hayter’s books helps spur the Musgroves’ worries about excessive studying. They might be naturally inclined to such worries, not seeming bookish at all themselves.

What's the reference for this note specifically? "and having been found on the occasion by Mr. Musgrove with some large books before him, Mr. and Mrs. Musgrove were sure all could not be right, and talked, with grave faces, of his studying himself to death." Clearly the natural place of this note is on "duodecimo" in chapter I, but by this strategy Shepard not only manages to make two notes out of where there should be only one, but inserts notes visually in chapters in such a way as to make it appear like he has lots and lots of substantial, erudite explanations to make all the time. This strategy he repeats a lot through the text.

It's these habits of trickery, of padding and puffing up that I find intellectually dishonest, and rather inexcusable in a man who is an academic and must know better. I have also accused him of sloppiness. Perhaps I could have been more charitable and say that Shepard is a Historian by profession, and the things that touch on the literary and the philosophical, his references are much more scarce and lacking, not particularly well researched (in contrast with his historical notes). I mentioned how despite being relatively similar in tone and aim, the contrast between Shepard and Oxford showed that the Oxford annotator was familiar with literary authors in ways Shepard wasn't. This reflects in notes as well. For example:

Pinny

Shepard:

Charmouth is another coastal town (see note 8, for a description). Up Lyme sits atop the ascent next to Lyme, and offers views of the town and sea. Pinny is a spot a little west of Lyme. (For locations, see map.)

Oxford:

Many readers encountering this description of the scenery of Pinny, just west of Lyme, have detected an echo of the poet Samuel Taylor Coleridge’s ‘Kubla Khan’ (composed 1798; published 1816). See lines 12-13: ‘But oh! that deep romantic chasm which slanted | Down the green hill athwart a cedar n cover. . . .’ The romance of the landscape is the product of a series of landslides, which have carried into Pinny Bay some of the cliff paths on which Austen must have walked during her stay in Lyme.

Marmion and The Lady of the Lake/Giaour and The Bride of Abydos

Shepard:

These are two long narrative poems by Walter Scott. In contrast to the above poets, Scott immediately achieved great popularity. The two poems cited here, his most widely read, were among the best sellers of the age—and in this age, poetry generally outsold novels, at least until Scott’s own novels appeared. Both poems are stories of love and war, set in sixteenth-century Scotland; a critical element of Romanticism was fascination with the past, especially the medieval past, and Scott was central to fostering this sentiment. Jane Austen mentions each of these poems in her letters. These are two narrative poems by Lord Byron, the other highly popular poet of the time. Both are tragic love stories set in the Middle East; fascination with foreign lands, especially ones regarded as highly exotic, was another feature of Romanticism.

Oxford:

The first two titles refer to long narrative poems, romances of medieval times, published by Sir Walter Scott in 1808 and 1810; the third and fourth refer to ‘Turkish tales’ published by rival poet Lord Byron in 1813. The poets’ representations of warrior heroes committing doughty deeds in picturesque settings probably contributed to their wartime popularity. Still, the notes that Byron appended to his poems adopt a more cynical view of their heroes’ sabre-rattling than do the poems themselves, in ways that distinguish their account of heroism from Persuasion’s, idealistic view of its chivalric war hero. Anne and Benwick prove themselves faithful observers of the literary scene when they attempt to adjudicate between Scott and Byron (an attempt they resume on p. 90). Similar efforts at a comparative evaluation of the decade’s two most commercially successful poets are pursued in William Hazlitt’s The Spirit of the Age (1825) and the anonymous A Discourse on the Comparative Merits of Scott and Byron (1824).

Our best moralists

Shepard:

These could refer to a wide array of works, especially from earlier years. The eighteenth century, whose spirit Jane Austen exudes in many respects, was characterized by a general preference for prose and an emphasis on greater rationalism than the Romantic period. Moral essays, frequently supported by observations on life and contemporary mores, were popular throughout the century. Collections of letters, often highly polished, also appeared. Finally, biography developed as a significant genre, and it, like much of the prose of the time, often had a moralizing tone, pointing out lessons and presenting examples of virtuous behavior.

The difficulty in following precepts of patience and resignation had been a popular theme of many writers, especially when discussing the influential philosophy of Stoicism, which counseled rational indifference to the ills of life. Similarly, as in all ages, many who preached virtue did not always live up to their preaching. One of the most influential prose moralists of the eighteenth century, and a favorite author of Jane Austen’s, Samuel Johnson, addresses this point in one of his essays (The Rambler, #14). He writes that “for many reasons a man writes much better than he lives.” But he argues, “Nothing is more unjust, however common, than to charge with hypocrisy him that expresses zeal for those virtues, which he neglects to practice; since he may be sincerely convinced of the advantages of conquering his passions, without having yet obtained the victory.” Rather, he claims that such a man should be commended for attempting to impart to others some of his own, possibly hard-earned, wisdom. From this perspective, Anne’s counsel to Captain Benwick, which does certainly come from her own extensive experience, would represent a valuable and benevolent service to him, whatever her own failings in achieving patience or self-control.

Oxford:

The texts Anne prescribes to Benwick would very probably include works by Samuel Johnson. Throughout the second half of the eighteenth century readers made an almost medicinal use of the essay series The Rambler (first published 1750-2), in which Johnson treats such topics as the dangers of solitude and the necessity of resignation in the face of loss. Johnson’s biographer James Boswell claimed of The Rambler that ‘In no writings whatever can be found . . . more that can brace and invigorate every manly and noble sentiment’ ( Life ofJohnson, ed. R. W. Chapman (Oxford: Oxford University Press, 1983), 154).

Here I would note that the much longer two-notes reference of Shepard sits between vague and repetitive, and that in my opinion both sin by omission of Shaftesbury (Anthony Ashley Cooper).

Dark blue seas

Shepard:

Byron’s The Corsair, a work Jane Austen mentions reading in a letter (March 5, 1814), begins with the lines, “O’er the glad waters of the dark blue sea, / Our thoughts as boundless, and our souls as free.”

Oxford:

Benwick and Anne perhaps recall the second canto of Childe Harold's Pilgrimage (1812). Its description of the hero’s voyage from Greece and of the ‘little warlike world within’ (ii. 154) he enters when he boards the ship certainly glamorizes nautical life: ‘He that has sail’d upon the dark blue sea, | Has view’d at times, I ween, a full fair sight’ (ii. 145-6). They may also be remembering the lines that open The Corsair (1814), a description of the freedom that the poem’s pirates enjoy as outlaws: ‘O’er the glad waters of the dark blue sea, | Our thoughts as boundless and our souls as free’. In a letter of 1814 Austen sounds jaded about the Byronic heroes, such as Harold and Conrad the Corsair, who enthuse Captain Benwick: ‘I have read the Corsair, mended my petticoat, & have nothing else to do’ ( Letters , 257).

'eleven with its silver sounds’

Shepard:

The origin of this phrase, which seems, based on the quotation marks, to be from a particular text, has never been identified for certain. One commentator, Patricia Meyer Spacks, suggests the phrase may allude to a line in The Rape of the Lock by Alexander Pope, a poet Jane Austen certainly knew well: “And the pressed watch returned a silver sound.” The phrase does not represent a literal description of the operation of the clock, for the component parts of a clock were made of other metals than silver, usually brass or steel. Clocks were standard parts of a home, designed for elegant appearance as well as utility.

Oxford:

The literary allusion has not been traced. In 1921 Herbert Grierson conjectured that Austen was here misremembering the description of the coquette’s morning rituals that Alexander Pope gives in The Rape of the Lock (1712): ‘Thrice rung the Bell, the Slipper knock’d the Ground, | And the press’d Watch return’d a silver Sound’ (i. 17-18).

Note how here Shepard is crediting Meyer Spacks, but does not reference where (the Norton Critical Edition), whereas the Oxford annotation traces the conjecture to what appears to be its original proponent.

The pen has been in their hands

Shepard:

At this time there had been moves to improve the quality of women’s education, but it still was inferior to men’s, especially at the higher levels—no universities admitted women. As for books, while women had come to constitute a substantial portion of those who wrote novels, men dominated virtually all other fields of literary endeavor.

Oxford:

even as she has Anne object to examples from books, Austen echoes the precedents set by figures in the literary tradition who have previously commented on men’s monopoly of the written word. Anne sounds like the Wife of Bath in Geoffrey Chaucer’s Canterbury Tales , who is exasperated by male clerics’ representations of women, and, closer to Austen’s time, like Richard Steele’s character Arietta, who recounts the story of Inkle, the mercenary Englishman, and Yarico, the native woman of Jamaica whom Inkle betrays, so as to counter her male visitor’s trite examples of female inconstancy. Arietta observes, ‘You Men are Writers, and can represent us Women as Unbecoming as you please in your Works, while we are unable to return the Injury’ (.Spectator, 11 (13 Mar. 17 n)).

I'm not saying that necessarily Shepard's notes should be absolutely excellent in every single way and aspect in order for it to be a serviceable/good annotated edition; but all the things I have mentioned above make them appear to me thoroughly undeserving of being considered excellent, above the rest, or definitive.

#Jane Austen #Persuasion #annotated editions

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cowboysweetnothings · 2 years ago

Text

Some love is a battle against your own mind (solitaire), some is a chess game (mastermind and Dear John —though both are different examples of this), and some is a complete gamble (devils roll the dice) —but it’s all a game in some way (wanna play?)

can't stop thinking about the contrast between chess in Mastermind and solitaire in Dear Reader and how they're alternate closers for the same album and "Love's a game, wanna play?"

#dear john #mastermind #blank space #cruel summer #midnights #1989 album #speak now #taylor swift #lyric posting #lyric analysis #loves a game

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legallybrunettedotcom · 5 months ago

Note

Can you recommend some good film podcasts to listen to?

for sure. i can't say that i follow any of these like super religiously, but i'd say all of these are pretty neat and now it's just a matter of which hosts/guests don't annoy you lol. also if anyone else has any more recs, do tell! :) the next picture show is roundtable discussions examining how classic films influence and inspire modern films so you’ll have something like all the president’s men and spotlight comparisons or the wicker man and the vvitch. cool for double feature movie nights.

the big picture has reviews, especially of latest movies, but they also talk about some arthouse stuff. they also do these like top 5 lists, oscars analysis etc. roundtables and interesting guests

the rewatchables both the big picture and the rewatchables are from the ringer website/network so hosts and guests overlap. it’s what it says on the tin. they rewatch movies and then do all these categories, personally my favourite and i think they're very funny.

you must remember this host does incredible research, it’s really about like secret and forgotten histories of 20th century hollywood. they did like a 12 part series on eroticism and sex in 80s cinema, now they moved onto the erotic 90s.

sleepover cinema is super fun and definitely the type of podcast i would want to have, just two friends talking about late 90s/early 2000s movies and pop culture in general that sort of shaped the collective unconscious of “girls and gays” as they say.

intermission from the cinegogue is super chill. they just invite guests and ask them a bunch of movie questions in a way that you would ask a friend, yk like if you could watch movies from only one country which one would you choose, or like favourite nepo baby director. but they also do reviews. blank check cover entire filmographies of directors

black on black cinema for black film reviews and discussions

reel asian podcast for asian and asian american film reviews and discussions

a piece of pie for lgbt films and topics and subtext and such

junkfood cinema for shitty and cult movies. also how did this get made is about bad movies we love.

space brains for science fiction

final girls horrorcast for horror, sci-fi, thrillers both well known and obscure

filmspotting and the film cast for reviews of new and old as well

sardonicast does pretty much everything

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literaryvein-reblogs · 6 months ago

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A List of Poetic Terms

anaphora the repetition of a word or phrase, usually at the beginning of a line.

alliteration the repetition of sounds in a sequence of words.

allegory narrative with two levels of meaning, one stated and one unstated.

apostrophe direct address to an absent or otherwise unresponsive entity (someone or something dead, imaginary, abstract, or inanimate).

assonance the repetition of vowel-sounds.

beat a stressed (or accented) syllable.

binary dual, twofold, characterized by two parts.

blank verse unrhymed iambic pentameter.

caesura an audible pause internal to a line, usually in the middle. (An audible pause at the end of a line is called an end-stop.) The French alexandrine, Anglo-Saxon alliterative meter, and Latin dactylic hexameter are all verse forms that call for a caesura.

chiasmus from the Greek letter Chi ( Χ ), a "crossed" rhetorical parallel. That is, the parallel form a:b::a:b changes to a:b::b:a to become a chiasmus.

climax the high point; the moment of greatest tension or intensity. The climax can occur at any point in a poem, and can register on different levels, e.g. narrative, rhetorical, or formal.

consonance the repetition of consonant-sounds.

couplet two lines of verse, usually rhymed. Heroic couplet: a rhymed iambic pentameter couplet.

diction word choice, specifically the "class" or "kind" of words chosen.

elegy since the 17th century, usually denotes a reflective poem that laments the loss of something or someone.

end-stopped line a line that ends with a punctuation mark and whose meaning is complete.

enjambed line a "run-on" line that carries over into the next to complete its meaning.

foot the basic unit of accentual-syllabic and quantitative meter, usually combining a stress with one or more unstressed syllables.

free verse poetry in which the rhythm does not repeat regularly.

imagery the visual (or other sensory) pictures used to render a description more vivid and immediate.

meter a regularly repeating rhythm, divided for convenience into feet.

metonomy a figure of speech in which something is represented by another thing that is commonly and often physically associated with it, e.g. "White House" for "the President."

ode a genre of lyric, an ode tends to be a long, serious meditation on an elevated subject.

prosody the study of versification, i.e. the form—meter, rhyme, rhythm, stanzaic form, sound patterns—into which poets put language to make it verse rather than something else.

refrain a phrase or line recurring at intervals. The definition does not require that a refrain include the entire line, nor that it recur at regular intervals, though refrains often are and do.

rhythm the patterns of stresses, unstressed syllables, and pauses in language. Regularly repeating rhythm is called meter.

scansion the identification and analysis of poetic rhythm and meter. To "scan" a line of poetry is to mark its stressed and unstressed syllables.

simile a figure of speech that compares two distinct things by using a connective word such as "like" or "as."

speaker the "I" of a poem, equivalent to the "narrator" of a prose text. In lyric poetry, the speaker is often an authorial persona.

speech act the manner of expression (as opposed to the content). Examples of speech acts include: question, promise, plea, declaration, and command.

stanza a “paragraph” of a poem: a group of lines separated by extra white space from other groups of lines.

symbol an image that stands for something larger and more complex, often something abstract, such as an idea or a set of attitudes.

symbolism the serious and relatively sustained use of symbols to represent or suggest other things or ideas. (Distinct from allegory in that symbolism does not depend on narrative.)

synecdoche a figure of speech in which a part of something is used to represent the whole, e.g. “wheels” for “car.”

tone the speaker’s or author’s attitude toward the reader, addressee, or subject matter. The tone of a poem immediately impresses itself upon the reader, yet it can be quite difficult to describe and analyze.

topos a traditional theme or motif (e.g. the topos of modesty).

trope a figure of speech, such as a metaphor (trope is often used, incorrectly, to mean topos)

valediction an act or utterance of farewell.

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Word Lists

#poetry #literature #writing #writeblr #writers on tumblr #poets on tumblr #writing prompt #creative writing #poem #lit #words #writing reference #writing resources #langblr #studyblr #terminology

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couldtransitionsaveher · 8 months ago

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Archetype Exploration: Perfect Soldiers

(Hey, please look at this blog's pinned post before reading this post; it gives a lot of context for the lens I'm looking at these characters through, k thx. also, shoutout to @finalgirl-nihilbliss for guessing the archetype)

CW: Abuse, Projection, Surface-Level Media Analysis

If your comfort character exhibits any of the following symptoms:

constant brooding

face frozen in a perpetual scowl

possession of a "dark past" they don't like to talk about

frequent blank stares into the middle distance

constantly trains for something uncertain

You may have just found yourself in the presence of a Perfect Soldier.

Perfect soldiers are characters who were groomed, often from birth, for the sole purpose of inflicting harm on their fellow man. These characters are efficient, tactically-minded, and above all else, violent. Perfect soldiers will often excel at combat and strategy, but struggle with emotional sensitivity.

Note that just because these characters are violent and closed off now doesn't mean that this is their natural temperament. Often, perfect soldiers have some kind of natural compassion that was stomped out through years of abuse training. This can come in the form of a sole loved one who tragically died, but more often than not, it simply manifests as a soft side sanded away.

If the Perfect Soldier doesn't start that way, who is to blame for their transformation? In sci-fi and fantasy, this transformation is usually caused by a morally corrupt institution built to churn out perfect soldiers (the Jedi Academy, the Galalunan Military Academy, the Space Marine Legions, etc.). Other times, perfect soldiers are groomed raised by a cruel and abusive father figure (Endeavor, Bro Strider, Belos, etc.). Some settings even blend the two by having an institution with a twisted general (think Shadow Weaver from She-Ra).

Typically, if a perfect soldier has a character arc, it's usually one of healing and letting go of their anger. This almost always contains at least two of these three steps in the order of your choosing:

The perfect soldier leaves the institution of their torment, either by circumstance or by excommunication. Once on the outside, they'll typically find that their raw might is irrelevant to their survival, and they'll instead need to rely on their lacking social skills. This exit from the comfort zone will prompt the soldier to learn a lot of people skills, typically leading to a "softening up" of sorts. Note that this doesn't have to be a literal escape from a physical place. Rather, it could just be a character being outside their guardian's zone of influence.

The perfect soldier discovers some imperfection with their guardian/institution. Perhaps there's some kind of inconsistency in its moral values. Other times, the soldier finds a secret the guardian/institution has been covering up. Whatever it is, this will prompt the soldier to question their leaders' infallibility.

The perfect soldier meets a person who shows concern for them in spite of the soldier's outward hostility. This outside party will likely witness or hear about the perfect soldier's tumultuous upbringing and take pity on them. This will likely prompt an attempt to reach out to the soldier, something which may or may not be rejected. Whatever the case, this act compassion will likely stick with the soldier, and prompt them to think about their own worth.

An arc like this usually resolves with a direct confrontation with the abusive mentor(s) who turned them into a weapon of war. If the soldier is a member of the supporting cast, this may come in the form of some heroic self-sacrifice, usually to protect the aforementioned outside party. Alternatively, if the soldier is a protagonist, their confrontation will likely be much more active, and may even be a proper fight. The soldier tends to win this fight either with the power of friendship or compassion but this isn't a strict requirement. If the writers really want to get spicy with it, they might even spare their tormentor, really leaning into the idea of abandoning violence (note that this runs the risk of coming off as a "forgive your abusers" narrative).

Alternatively, the lack of a grand confrontation can be a form of narrative resolution in and of itself. Living well is the best revenge, after all, and showing that our former perfect soldier has moved on to a happier, more peaceful life can be a far stronger statement of growth than a glitzy fight to the death.

(This is the part where I tie this whole thing back into the gimmick of the account. If you just wanted a Trope Talk style summary of the archetype, you've seen all there is to see. Thanks for reading, and don't forget to do your daily clicks.)

Why do you keep submitting this?

So, out of all the characters that I've seen submitted, this is easily the most prolific character archetype. At the time of writing, somewhere between 40-50 characters that have been posted roughly fit this archetype, and that's not including any of the characters I haven't posted yet.

Why do submitters connect this particular trope with trans women so damn much?

Firstly, it's important to consider that in most western fiction, the soldier is an inherently masculine archetype. From the classical epics of the Odyssey and the Iliad, to the superheroes and action stars of modern-day blockbusters, there's a very real conflation between a character's manhood and a character's capacity to do violence. A lot of mainstream military propaganda does the same, suggesting that men who enlist are more "authentically masculine" than those who don't. This archetype serves as a critique of that idea; it shows us that this masculine ideal can be, and often is, a soul-crushing experience. In a sense, the idea of transitioning serves as an escape from this image.

Furthermore, it's important to consider what this character arc is actually about: a miserable character discovering that a better life is possible, and making steps to achieve personal peace. Often, these characters are fiercely loyal to the institutions that take advantage of them. These characters are often fine with it because they can't conceive of a better world. Once that's presented to them, that's when they start to leave. Frankly, given that a lot of people still don't end up knowing about trans folks until they're adults, I'm surprised more trans people don't connect to characters like this.

Finally, this arc gets back to the core question at the center of this blog: could transition have saved her? The archetype, in its construction necessitates a level of misery, ergo it implies that the character needs saving. It's no wonder these characters tend to garner a lot of Hurt/Comfort fanfic (Anakin Skywalker alone has more Hurt/Comfort fic than some of my favorite fandoms period). There's an inherent desire for these characters have better lives, and maybe some estrogen could do it.

This is my best guess, anyway. If you have thoughts, feel free to share them.

#archetype exploration #trope analysis #cw abuse #cw projection #cw surface level media analysis #transgender #sorry for taking so long to finish this post #i've been trying to phrase it as delicately as possible

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multishipper-baby · 10 months ago

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Okay so I got over my shyness so... Here's my quick breakdown of why I chose every song for this playlist with some slight ship analysis.

All the Rowboats

This is how I imagine Owynn sees Golden before they met: as a piece of art, carefully locked up by his grandpa. A masterpiece serving maximum sentence, if you will. I think it's a good starting ground for their relationship- the idea of Owynn dehumanizing Golden in an artistic way, being in love with that idea of him even as he knows Golden is miserable with the life he currently leads, because Owynn wants that same life so desperately.

Paparazzi and Toy Soldiers

As stated, Owynn is very much interested in becoming famous with his music, and Golden already is famous with his. It's easy to imagine Owynn being interested in Golden because of this- wanting to be like him, becoming sometimes possessive when he doesn't get the attention he desperately wants. Trying to get close to him both out of interest in him but also with ulterior motives; trying to take his place in the industry, while also driving him away from the animatronics to hurt the rest of his competition.

Basically: Obsessive, but also very jealous of his fame, fanboy Owynn.

Down Boy

This one represents the part of their relationship when Golden just runs away from home, and no longer has his fame helping him. Now, Owynn feels more in control, like he can be the one that takes the reigns. However, for him to maintain this illusion of control, he feels like he needs to keep Golden down. Make himself superior by making his crush inferior, hoping that Golden will reciprocate the level of admiration he held for him back when the tables were turned.

Lemon Boy

Golden POV song. He's wary of Owynn's actions, but doesn't quite realize just how fucked up he is, so he tried to give him a chance and let him into his life despite his friends' warnings that it might not be such a good idea. And, because Golden is such an affection starved character, he very much falls for Owynn hook, line and sinker, despite his many flaws.

Russian Roulette

Because of Golden's growing affection for him, Owynn starts to grow worried that he himself is becoming too attached. That if he keeps this up, he's going to start genuinely caring- which is not part of the plan, because he needs to be open to hurting Golden for his own ends if he wants to screw the animatronics over. He needs to be willing to ruin what they have to get what he wants.

But by the time he realizes that, he's already staring down the barrel of the gun, knowing there's no way to escape the feelings.

Tears of Gold

Another Golden POV, this time when he realizes that Owynn was using him- to get fame, to ruin the animatronics, to better his self esteem. He's understandably very upset by this, but also confused, as Owynn insists that it started out as a lie but now he's very much in love with Golden for real. It might be another lie, but Golden is too generous, and can't help but wonder if perhaps it's true. If he could give Owynn another chance, even if he probably shouldn't.

Goldwynn playlist makes an appearance!

Full tracklist under the cut:

Paparazzi by Lady Gaga

Russian Roulette by Red Velvet

Blank Space by Taylor Swift

Toy Soldiers by Marianas Trench

Down Boy by Holly Valance

Tears of Gold by Faouzia

Lemon Boy by Cavetown

All the Rowboats by Regina Spektor

#fnafhs #golwynn #analysis #it forms a little narrative. it wasn't intentional (my other playlists don't have that)#but I thought it was fun #also I didn't explain blank space. but that's just because the song explains itself perfectly #I hope this makes sense and doesn't sound stupid lmao

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clegfly · 10 months ago

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OMORI and colour- an analysis

hey, so this is a post I’ve been wanting to make for a while and never got round to doing, but here I am.

Something I noticed in OMORI and have continued to notice throughout the game is the symbolism between colours and characters, and what they say about their relationships or their mannerisms, because there’s actually a LOT there, more than I expected.

keep in mind this is a pretty basic analysis and I’m sure there’s much more to be discovered, but I haven’t fully learned everything there is to know about colour theory and so this isn’t really my field of knowledge, I just wanted to share my findings.

also, spoilers ahead, so beware!

Filling in the wheel

This is a basic colour wheel, and the model I will be referring to throughout this analysis.

in OMORI, and even in external items outside of the game like merchandise each of the main cast are associated with a specific colour.

for example, SUNNY is associated commonly with yellow throughout the game. Here’s a small chart I made to keep track of my references…

I’m sure there’s more but here’s what I’ve got.

so now we know where sunny stands on the colour wheel, in the yellow region.

the rest of the cast can be easily identified on the wheel- KEL clearly falls into orange, HERO clearly falls into blue, MARI clearly falls into purple, BASIL clearly falls into green and AUBREY clearly falls into pink.

But wait, that’s not the complete wheel.

you’ll notice AUBREY’s positioning differs from the rest of the group, and that’s because I’ve specifically put HEADSPACE AUBREY in that section. Where REAL WORLD AUBREY actually falls is on the red segment of the wheel as that colour is better associated with her emotional state and also slots her better into place on the wheel.

So that means the rest of these midtones represent the rest of the HEADSPACE counterparts, right?

You’ll notice one more blank space, but let’s put that one aside for now. We’ll fill it in later. For now let’s begin to focus on the relationships between these segments on the wheel.

Complementary colours

Complementary colours are defined as “pairs of colours which, when combined or mixed, cancel each other out (lose hue) by producing a grayscale color like white or black. When placed next to each other, they create the strongest contrast for those two colors. Complementary colours may also be called "opposite colours"”.

in other words, these colours complement each other, and are paired together as they are the most striking next to one another. They are opposites, but belong together.

so, who do we have complementing on our OMORI wheel?

Now, this is quite complicated to look at but I’m going to use what I think is probably the most important relationship in the game and use it as an example.

MARI is commonly associated with purple throughout the game, so much so that it’s constantly in our faces. The main colour for SUNNY’s headspace where he escapes the tragedy of what happened to her is purple, AUBREY laments about a lost promise of dying their hair purple and pink together, MARI gets a grape flavoured (purple) popsicle in one of the photos in BASIL’s album, etc. she’s very clearly shown to be “purple”symbolically throughout the game, no question there.

and as for SUNNY, as we’ve gone over earlier, he is represented by yellow.

so when we reference our colour wheel once having placed these two in their respective spots, what do we see?

MARI and SUNNY complement one another.

And we see this consistently for other key or contrasting relationships through the game. HERO and KEL complement both in the REAL WORLD and HEADSPACE, and so do AUBREY AND BASIL.

They are shown to complement each other, when placed with their associated colours on the wheel.

so, what about STRANGER? Who does he complement with? After all the segment opposing him is empty.

I feel as though there’s only one answer which makes sense for the game.

OMORI complements STRANGER and STRANGER complements OMORI.

but, for OMORI, this seems out of character. The character itself is typically associated with black to represent the repression of the truth and also the darkness behind his actions to keep SUNNY guarded from the truth, so this warm colour feels out of place.

but looking deeper into the symbolism, I disagree. Orange itself represents liveliness, optimism, and enthusiasm, which I think represents HEADSPACE. However red, while associated with anger for AUBREY, is more commonly associated with danger and most importantly sacrifice.

As well as this, this specific hue shows to carry more of a red pigment than an orange.

so I believe this can represent this distracting and overwhelming joy of HEADSPACE whilst having great sinister undertones just Millimeters beneath the surface, something very fitting for OMORI as he’s portrayed in the game. (Side note: I don’t think OMORI is evil, by the way. I’m talking about his actions and portrayal in contrast to HEADSPACE, nor his intentions. I view OMORI more as a robotic kind of character than anything but that’s an analysis for another day.)

so, in conclusion, there’s a lot to be told from this wheel. Here’s a finished polished version for anyone who wants to use it, including some extra notes I didn’t discuss here. If there is anything at all you want me to elaborate on or go more in depth into, or just neglected to discuss at all, please let me know! Thank you for reading!

(PS also open for criticism on the wheel- especially if you know more about colour theory than me! I don’t go into much detail about what each colour association represents within the characters themselves here so that may be for another post)

#omori #omori analysis #omori mari #omori sunny #omori basil #omori hero #omori kel #omori aubrey #omori game #colour theory #omori stranger #omori character

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