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A History of Scottish Women's Writing
- Edited by Douglas Gifford, Dorothy McMillan
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- Published by:
- Edinburgh University Press
- Published online:
- 24 September 2020
- Print publication:
- 03 February 2020
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This is the first comprehensive critical analysis of Scottish women's writing from its recoverable beginnings to the present day
Notes on Contributors
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Book:
- A History of Scottish Women's Writing
- Published by:
- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp 708-709
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38 - Twentieth-century Poetry II: The Last Twenty-five Years
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp 549-578
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Summary
Scottish women's poetry is probably having a better time now than it has ever had, assisted perhaps by important Scottish women of letters like Tessa Ransford, founder of the Scottish Poetry Library and editor of Lines Review, and Joy Hendry, editor of Chapman. The main problem facing women writers today may be the curse of acceptance rather than neglect. For readers not unsurprisingly tend to read their work in terms of a challenge to or resentment of past neglect. This tendency to attribute to women writers the same plot means that the writers are now often being tied down by their readers’ willingness to sympathise with battles that they are not always fighting and certainly not only fighting. Modem psychoanalytic criticism has the danger built into it of teasing out the same story over and over again, but even historical and contextual criticism is usually too willing to read women's writing as having as its sole aim the speaking back of marginalised or even colonised female voices. I hope to show that while it is often the case that women writers are reclaiming lost ground they frequently move on from this reclamation to the planting of crops far more various and exotic than are covered by the simple formula of women's experience. In other words while it would be merely perverse to claim that contemporary women poets are unmotivated by their gendered experience of time and place, we should not feel that pointing out such motivation is tribute enough. This is true, I think, even when poets admit that their project is giving voice to the hitherto voiceless. Speaking of her own poetry in Dream State Elizabeth Bums admits that she is conscious of Scottish poetry as having been a ‘mainly male domain’. Her own poetry, she says, reflects an ‘interest in women's ways of seeing and writing. “Valda's Poem/ Sleevenotes”, for instance, takes the context of the Scottish poetic tradition and wonders how it might appear to a woman looking in from the outside’. The poem was provoked by a sleevenote to Hugh MacDiarmid's record Whaur Extremes Meet with the poet enjoying conversation and whisky with MacCaig, ‘Valda in swimsuit, working in the garden, or keeping the soft-coated Wheaten and Border Terrier quiet for the recording’. Bums, no doubt conscious that the very sleevenote undermines the claims of the record's title, offers Valda's perception of the afternoon.
5 - Selves and Others: Non-fiction Writing in the Eighteenth and Early Nineteenth Centuries
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp 71-90
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Summary
The eighteenth century was for Scotland the kind of period that makes sense of the Chinese curse, ‘May you live in interesting times’. It was a time neither comfortable nor stable and yet it moved, admittedly at great cost to some, toward the great intellectual flourishing of the turn of the century and beyond, and in its course, the way was paved for the commercial successes of Victorian Scotland. It is framed at one end by the ‘killing time’ of the 1680s and at the other by the economic upheavals and radical troubles of the early years of the nineteenth century. In between, Scotland saw the Union of 1707, the Jacobite Risings of 1715 and 1745 and the resultant reprisals, followed by the romantici- sation of the Highlands. But it is equally the time of the Scottish Enlightenment working toward the intellectual ascendancy of the end of the century. It is, of course, possible to vary both the frame and the picture but it is not easy to avoid the evidence of a confused mixture of suffering and disaster with achievement and optimism. Much shaping activity was proceeding as part of both conscious and unconscious national definition - and national here may be taken to mean both the notion of Scotland and that of Britain. The second half of the eighteenth century in particular was a time of consolidation of meanings of Scottishness and a time of construction of ways of Britishness.
It certainly seems easier to demonstrate the ways in which non-fictional writing responds to and helps to shape the ideologies of its time than with fiction, poetry and drama. In some cases women's writing is a direct result of political pressures, might not indeed have existed at all but for specific historical circumstances. 1 am thinking of letters written to absent family or memoirs of people and places arising from unavoidable travel. All the early letters from women in the Dunlop family papers fall into these categories. The women of the Dunlop family stayed at home and wrote to absent husbands or brothers: the letters of Sarah Carstares to her husband, William Dunlop, ‘My dearst and desirable heart’, in exile from the ‘killing times’ in Carolina, are particularly moving in their combination of practicality and affection.
Contents
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp v-viii
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8 - Some Early Travellers
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- 24 September 2020
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- 03 February 2020, pp 119-142
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Summary
In this chapter I take as my starting point that all literature of travel operates between notions of ‘here’ and ‘there’ and the audience for such writing may sometimes be in both places at the same time, just as the writer too may shift positions in significant ways. The four women that I deal with - Janet Schaw, Lady Anne Lindsay Barnard, Anne Grant of Laggan and Frances Wright - could all be discussed under different headings, but they all at some point in their lives fill my category of ‘here’ and ‘there’ writers. They can also be used to show the transition from eighteenth-entury pragmatism (sometimes even callousness) in Janet Schaw through the humanised enlightenment attitudes of Anne Barnard to the romantic idealism of Anne Grant, albeit controlled by her stem evangelicalism, and finally to the post-French Revolution commitment to love and liberty that informs the work of Frances Wright.
Janet Schaw (?1737-?1801)
Janet Schaw's Journal of a Lady of Quality written probably between 1774 and 1776 during her journeys from Scotland to the West Indies, North Carolina and Portugal, was not published until 1921 after it had been serendipitously discovered in the course of a search for other material. This accident of female authorial visibility is made yet more ironic by what is signalled by the volume's frontispiece, for opposite the title page proclaiming the ‘Lady of Quality’ is a portrait by Raeburn of Alexander Schaw, Janet's brother: the face of the author remains invisible, shadowed only by its possible likeness to the public face of Alexander and to that of her mother whose portrait is given later in the text. The voyages that Janet Schaw charts in this Journal were made at first in the company of her brother, Alexander Schaw, who had been appointed searcher of customs at St Christopher, and of the children, Fanny (18), John (11) and William, ‘Billie’ (9), of John Rutherford of North Carolina whose sister, Anne, had been the first wife of Janet's second brother Robert Schaw, himself settled in America. The group was also accompanied by Janet's ‘abigail’, Mrs Mary Miller, who becomes the comic villainess of the first half of the journey. Janet was then the only one of the group who did not have to travel, who made the arduous journey apparently out of family solidarity and perhaps sheer desire for the adventure.
29 - Twentieth-century Poetry I: Rachel Annand Taylor to Veronica Forrest-Thomson
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- 24 September 2020
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- 03 February 2020, pp 428-443
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Summary
Liz Lochhead is the first fully professional Scottish woman poet of the modem period, perhaps of any period of Scottish women's writing. Before her, Marion Angus is alone among twentieth-century women poets in being remarkable for the quality, quantity and priority of her verse. Many of the writers dealt with elsewhere in this volume tried their hand at poetry but are not famous for it. Violet Jacob might be an exception to this, yet it is hard to feel that she would benefit from the publication of her collected poems as Marion Angus would. Catherine Carswell, Nan Shepherd, Naomi Mitchison and Muriel Spark all wrote poems, but it is not for their verse that these writers are chiefly remembered. Nor do I want to pretend to comprehensive coverage by merely romping through a list of names - the bibliography can do that - and some service has been done to women poets by the various anthologies now available.
I should like, however, to look in some detail at three poets from the earlier part of the century who might be felt to be exemplary cases of women's experience in poetry. The first, Rachel Annand Taylor, is a kind of heroine, frequently the self-conceived heroine of her own verse; the second, Olive Fraser, was regarded, and regarded herself for most of her life, as mentally ill: after appropriate treatment she enjoyed a brief re-awakening, sadly too late, into a fuller life; the third, Helen Cruickshank, despite her lifelong activity in and for poetry, was a self-submerged and generous handmaiden to a male-dominated poetic movement. That these are oversimplifications will emerge but they will do as preliminary characterisations and they certainly suggest roles which female poets have to confront and transcend in their path towards professional autonomy.
Rachel Annand Taylor (¡876-1960)
Of the Scottish women poets who began writing at the end of the nineteenth century, and who might be labelled Edwardian, the most prolific and possibly the most enduring, is Rachel Annand Taylor. I say ‘possibly’ most enduring because although her verse still pops up in anthologies, the lushness of Taylor's poetic imagination seemed cloying and effusive even to some of her contemporaries. Her great champion was Herbert Grierson who in his A Critical History of English Poetry praises her more highly than any other Edwardian woman poet:
Frontmatter
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp i-iv
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Introduction
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp ix-xxiv
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Summary
Histories of Scottish literature have tended in recent years to include more women, notably more in the case of the most recent four-volume history which had more space to be generous with. It seems, however, that gradualism in writing the history of Scottish women's writing will not be enough to secure for women a more than vestigial presence in whatever larger stories are being told about either the national or the female canons, at least not till the next millennium. There are valid objections to separatist stories, some of which are put by contributors to this volume, but even if the only justification that can be offered for separatism is that it carves out more space to talk about women's writing, then that seems good enough to be going on with. Nor do the stories that are told about women's writing in this volume ignore its intimate relations with work by men. And reconsideration of the contribution of women to the total achievement of writing in Scotland seems particularly appropriate now, when so many suggestions are being made that individual writers, periods and topics have not been adequately assessed. From early Gaelic women poets and Mary, Queen of Scots to the eighteenth-century travellers and Joanna Baillie, from the role of women in balladry to the long and impressive tradition of Scottish women novelists who seem at last to be coming into their own, Scottish literature presents a terrain which has not hitherto been mapped in a relief which shows where its women came from, and the real contribution they make to Scottish culture and culture generally.
The relative absence of women from the official histories of Scottish writing is one thing. Perhaps more alarming and more in need of protest is the regular exclusion of Scottish women from general histories and anthologies of women's writing. Mrs Oliphant, Susan Ferrier and now some twentieth-century writers are recognised but it is taking far too long for many others to find their places. Recent feminist activity in Romantic studies has forced interest again in a number of late eighteenth- and early nineteenth-century Scottish women poets, notably Joanna Baillie, but a huge number of women writers from Scotland still remain as ladies in waiting. For example, the influence of the Norton Anthologies on what gets taught in institutions of higher education is simply undeniable.
Index
- Edited by Douglas Gifford, University of Glasgow, Dorothy McMillan, University of Glasgow
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- A History of Scottish Women's Writing
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- Edinburgh University Press
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- 24 September 2020
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- 03 February 2020, pp 710-716
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Gender Differences in SIOP Research Fellows’ Publication Networks
- Jeremiah T. McMillan, Kristen Shockley, Dorothy R. Carter
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- Industrial and Organizational Psychology / Volume 11 / Issue 3 / September 2018
- Published online by Cambridge University Press:
- 20 September 2018, pp. 439-448
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Gardner, Ryan, and Snoeyink (2018) provide illuminating analyses regarding the role of gender in career advancement within industrial and organizational (I-O) psychology. One of their suggestions for further advancing this area of research is to examine homophily, defined as the tendency for individuals to have social ties with those who are similar to themselves, in the social networks of men and women in the field. Such research is warranted because social networks—in particular, the networks of research collaboration relationships (e.g., publications, grants) scientists develop throughout their careers—are critical to success in academia (e.g., Bozeman & Corley, 2004).
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. 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Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
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- The Cambridge Dictionary of Christianity
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- 05 August 2012
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Chapter 10
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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- 20 October 2005, pp 259-265
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THE appearance of the little sitting-room as they entered, was tranquillity itself; Mrs. Bates, deprived of her usual employment, slumbering on one side of the fire, Frank Churchill, at a table near her, most deedily occupied about her spectacles, and Jane Fairfax, standing with her back to them, intent on her pianoforté.
Busy as he was, however, the young man was yet able to shew a most happy countenance on seeing Emma again.
“This is a pleasure,” said he, in rather a low voice, “coming at least ten minutes earlier than I had calculated. You find me trying to be useful; tell me if you think I shall succeed.”
“What!” said Mrs. Weston, “have not you finished it yet? you would not earn a very good livelihood as a working-silversmith at this rate.”
“I have not been working uninterruptedly,” he replied, “I have been assisting Miss Fairfax in trying to make her instrument stand steadily, it was not quite firm; an unevenness in the floor, I believe. You see we have been wedging one leg with paper. This was very kind of you to be persuaded to come. I was almost afraid you would be hurrying home.”
He contrived that she should be seated by him; and was sufficiently employed in looking out the best baked apple for her, and trying to make her help or advise him in his work, till Jane Fairfax was quite ready to sit down to the pianoforté again. That she was not immediately ready, Emma did suspect to arise from the state of her nerves; she had not yet possessed the instrument long enough to touch it without emotion; she must reason herself into the power of performance; and Emma could not but pity such feelings, whatever their origin, and could not but resolve never to expose them to her neighbour again.
At last Jane began, and though the first bars were feebly given, the powers of the instrument were gradually done full justice to. Mrs. Weston had been delighted before, and was delighted again; Emma joined her in all her praise; and the pianoforté, with every proper discrimination, was pronounced to be altogether of the highest promise.
Chapter 16
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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THE hair was curled, and the maid sent away, and Emma sat down to think and be miserable.—It was a wretched business, indeed!—Such an overthrow of every thing she had been wishing for!—Such a development of every thing most unwelcome!—Such a blow for Harriet!—That was the worst of all. Every part of it brought pain and humiliation, of some sort or other; but, compared with the evil to Harriet, all was light; and she would gladly have submitted to feel yet more mistaken—more in error—more disgraced by mis-judgment, than she actually was, could the effects of her blunders have been confined to herself.
“If I had not persuaded Harriet into liking the man, I could have born any thing. He might have doubled his presumption to me—But poor Harriet!”
How she could have been so deceived!—He protested that he had never thought seriously of Harriet—never! She looked back as well as she could; but it was all confusion. She had taken up the idea, she supposed, and made every thing bend to it. His manners, however, must have been unmarked, wavering, dubious, or she could not have been so misled.
The picture!—How eager he had been about the picture!—and the charade!—and an hundred other circumstances;—how clearly they had seemed to point at Harriet. To be sure, the charade, with its “ready wit”—but then, the “soft eyes”—in fact it suited neither; it was a jumble without taste or truth. Who could have seen through such thick-headed nonsense?
Certainly she had often, especially of late, thought his manners to herself unnecessarily gallant; but it had passed as his way, as a mere error of judgment, of knowledge, of taste, as one proof among others that he had not always lived in the best society, that with all the gentleness of his address, true elegance was sometimes wanting; but, till this very day, she had never, for an instant, suspected it to mean any thing but grateful respect to her as Harriet's friend.
Chapter 15
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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MR. WOODHOUSE was soon ready for his tea; and when he had drank his tea he was quite ready to go home; and it was as much as his three companions could do, to entertain away his notice of the lateness of the hour, before the other gentlemen appeared. Mr. Weston was chatty and convivial, and no friend to early separations of any sort; but at last the drawing-room party did receive an augmentation. Mr. Elton, in very good spirits, was one of the first to walk in. Mrs. Weston and Emma were sitting together on a sopha. He joined them immediately, and with scarcely an invitation, seated himself between them.
Emma, in good spirits too, from the amusement afforded her mind by the expectation of Mr. Frank Churchill, was willing to forget his late improprieties, and be as well satisfied with him as before, and on his making Harriet his very first subject, was ready to listen with most friendly smiles.
He professed himself extremely anxious about her fair friend—her fair, lovely, amiable friend. “Did she know?—had she heard any thing about her, since their being at Randalls?— he felt much anxiety—he must confess that the nature of her complaint alarmed him considerably.” And in this style he talked on for some time very properly, not much attending to any answer, but altogether sufficiently awake to the terror of a bad sore throat; and Emma was quite in charity with him.
But at last there seemed a perverse turn; it seemed all at once as if he were more afraid of its being a bad sore throat on her account, than on Harriet’s—more anxious that she should escape the infection, than that there should be no infection in the complaint. He began with great earnestness to entreat her to refrain from visiting the sick chamber again, for the present—to entreat her to promise him not to venture into such hazard till he had seen Mr. Perry and learnt his opinion; and though she tried to laugh it off and bring the subject back into its proper course, there was no putting an end to his extreme solicitude about her.
Chapter 15
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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- 20 October 2005, pp 484-491
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THIS letter must make its way to Emma's feelings. She was obliged, in spite of her previous determination to the contrary, to do it all the justice that Mrs. Weston foretold. As soon as she came to her own name, it was irresistible; every line relating to herself was interesting, and almost every line agreeable; and when this charm ceased, the subject could still maintain itself, by the natural return of her former regard for the writer, and the very strong attraction which any picture of love must have for her at that moment. She never stopt till she had gone through the whole; and though it was impossible not to feel that he had been wrong, yet he had been less wrong than she had supposed—and he had suffered, and was very sorry—and he was so grateful to Mrs. Weston, and so much in love with Miss Fairfax, and she was so happy herself, that there was no being severe; and could he have entered the room, she must have shaken hands with him as heartily as ever.
She thought so well of the letter, that when Mr. Knightley came again, she desired him to read it. She was sure of Mrs. Weston's wishing it to be communicated; especially to one, who, like Mr. Knightley, had seen so much to blame in his conduct.
“I shall be very glad to look it over,” said he, “but it seems long. I will take it home with me at night.”
But that would not do. Mr. Weston was to call in the evening, and she must return it by him.
“I would rather be talking to you,” he replied; “but as it seems a matter of justice, it shall be done.”
He began—stopping, however, almost directly to say, “Had I been offered the sight of one of this gentleman's letters to his mother-in-law a few months ago, Emma, it would not have been taken with such indifference.”
He proceeded a little farther, reading to himself; and then, with a smile, observed, “Humph!—a fine complimentary opening:—But it is his way. One man's style must not be the rule of another’s. We will not be severe.”
“It will be natural for me,” he added shortly afterwards, “to speak my opinion aloud as I read.
Chapter 17
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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- 20 October 2005, pp 151-154
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MR. AND MRS. JOHN KNIGHTLEY were not detained long at Hartfield. The weather soon improved enough for those to move who must move; and Mr. Woodhouse having, as usual, tried to persuade his daughter to stay behind with all her children, was obliged to see the whole party set off, and return to his lamentations over the destiny of poor Isabella;— which poor Isabella, passing her life with those she doated on, full of their merits, blind to their faults, and always innocently busy, might have been a model of right feminine happiness.
The evening of the very day on which they went, brought a note from Mr. Elton to Mr. Woodhouse, a long, civil, ceremonious note, to say, with Mr. Elton's best compliments, “that he was proposing to leave Highbury the following morning in his way to Bath, where, in compliance with the pressing entreaties of some friends, he had engaged to spend a few weeks, and very much regretted the impossibility he was under, from various circumstances of weather and business, of taking a personal leave of Mr. Woodhouse, of whose friendly civilities he should ever retain a grateful sense—and had Mr. Woodhouse any commands, should be happy to attend to them.”
Emma was most agreeably surprized.—Mr. Elton’s absence just at this time was the very thing to be desired. She admired him for contriving it, though not able to give him much credit for the manner in which it was announced. Resentment could not have been more plainly spoken than in a civility to her father, from which she was so pointedly excluded. She had not even a share in his opening compliments.—Her name was not mentioned;—and there was so striking a change in all this, and such an ill-judged solemnity of leave-taking in his grateful acknowledgments, as she thought, at first, could not escape her father's suspicion.
It did however.—Her father was quite taken up with the surprize of so sudden a journey, and his fears that Mr. Elton might never get safely to the end of it, and saw nothing extraordinary in his language. It was a very useful note, for it supplied them with fresh matter for thought and conversation during the rest of their lonely evening.
Chapter 12
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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MR. KNIGHTLEY was to dine with them—rather against the inclination of Mr. Woodhouse, who did not like that any one should share with him in Isabella's first day. Emma's sense of right however had decided it; and besides the consideration of what was due to each brother, she had particular pleasure, from the circumstance of the late disagreement between Mr. Knightley and herself, in procuring him the proper invitation.
She hoped they might now become friends again. She thought it was time to make up. Making-up indeed would not do. She certainly had not been in the wrong, and he would never own that he had. Concession must be out of the question; but it was time to appear to forget that they had ever quarrelled; and she hoped it might rather assist the restoration of friendship, that when he came into the room she had one of the children with her—the youngest, a nice little girl about eight months old, who was now making her first visit to Hartfield, and very happy to be danced about in her aunt's arms. It did assist; for though he began with grave looks and short questions, he was soon led on to talk of them all in the usual way, and to take the child out of her arms with all the unceremoniousness of perfect amity. Emma felt they were friends again; and the conviction giving her at first great satisfaction, and then a little sauciness, she could not help saying, as he was admiring the baby,
“What a comfort it is, that we think alike about our nephews and nieces. As to men and women, our opinions are sometimes very different; but with regard to these children, I observe we never disagree.”
“If you were as much guided by nature in your estimate of men and women, and as little under the power of fancy and whim in your dealings with them, as you are where these children are concerned, we might always think alike.”
Chapter 2
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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- 20 October 2005, pp 345-358
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NO misfortune occurred, again to prevent the ball. The day approached, the day arrived; and, after a morning of some anxious watching, Frank Churchill, in all the certainty of his own self, reached Randall's before dinner, and every thing was safe.
No second meeting had there yet been between him and Emma. The room at the Crown was to witness it;—but it would be better than a common meeting in a crowd. Mr. Weston had been so very earnest in his entreaties for her early attendance, for her arriving there as soon as possible after themselves, for the purpose of taking her opinion as to the propriety and comfort of the rooms before any other persons came, that she could not refuse him, and must therefore spend some quiet interval in the young man's company. She was to convey Harriet, and they drove to the Crown in good time, the Randalls’ party just sufficiently before them.
Frank Churchill seemed to have been on the watch; and though he did not say much, his eyes declared that he meant to have a delightful evening. They all walked about together, to see that every thing was as it should be; and within a few minutes were joined by the contents of another carriage, which Emma could not hear the sound of at first, without great surprise. “So unreasonably early!” she was going to exclaim; but she presently found that it was a family of old friends, who were coming, like herself, by particular desire, to help Mr. Weston's judgement; and they were so very closely followed by another carriage of cousins, who had been entreated to come early with the same distinguishing earnestness, on the same errand, that it seemed as if half the company might soon be collected together for the purpose of preparatory inspection.
Emma perceived that her taste was not the only taste on which Mr. Weston depended, and felt, that to be the favourite and intimate of a man who had so many intimates and confidantes, was not the very first distinction in the scale of vanity. She liked his open manners, but a little less of open-heartedness would have made him a higher character.—General benevolence, but not general friendship, made a man what he ought to be.—She could fancy such a man.
Chapter 11
- Jane Austen
- Edited by Richard Cronin, University of Glasgow, Dorothy McMillan, University of Glasgow
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- Emma
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- 18 December 2020
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- 20 October 2005, pp 266-276
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IT may be possible to do without dancing entirely. Instances have been known of young people passing many, many months successively, without being at any ball of any description, and no material injury accrue either to body or mind;— but when a beginning is made—when the felicities of rapid motion have once been, though slightly, felt—it must be a very heavy set that does not ask for more.
Frank Churchill had danced once at Highbury, and longed to dance again; and the last half hour of an evening which Mr. Woodhouse was persuaded to spend with his daughter at Randalls, was passed by the two young people in schemes on the subject. Frank's was the first idea; and his the greatest zeal in pursuing it; for the lady was the best judge of the difficulties, and the most solicitous for accommodation and appearance. But still she had inclination enough for shewing people again how delightfully Mr. Frank Churchill and Miss Woodhouse danced—for doing that in which she need not blush to compare herself with Jane Fairfax—and even for simple dancing itself, without any of the wicked aids of vanity—to assist him first in pacing out the room they were in to see what it could be made to hold—and then in taking the dimensions of the other parlour, in the hope of discovering, in spite of all that Mr. Weston could say of their exactly equal size, that it was a little the largest.
His first proposition and request, that the dance begun at Mr. Cole's should be finished there—that the same party should be collected, and the same musician engaged, met with the readiest acquiescence. Mr. Weston entered into the idea with thorough enjoyment, and Mrs. Weston most willingly undertook to play as long as they could wish to dance; and the interesting employment had followed, of reckoning up exactly who there would be, and portioning out the indispensable division of space to every couple.