Ehle Success? Yes, but… (Pride and Prejudice‘s Thesis)

Jennifer Ehle undertaking to enact Elizabeth Bennet when she gives Lady Catherine de Bourgh some “pushback:” (the first five minutes)



But Jane Austen wrote some dialogue which this BBC rendition does not include. And one set of sentences expresses Lizzy’s fire better than any of the lines they gave Jennifer Ehle to say here. The most important moment for the most important character of Pride and Prejudice. Elizabeth says to Lady Catherine,

Allow me to say, Lady Catherine, that the arguments with which you have supported this extraordinary application have been as frivolous as the application was ill-judged. You have widely mistaken my character, if you think I can be worked on by such persuasions as these.

ICYMI: Lady Catherine’s nephew had, in fact, proposed to Elizabeth–in the early springtime. Now it is fall. She rejected him adamantly at first, but has since learned to second-guess herself. He, too, has shown that he could learn something about his shortcomings and try to correct them–by acting in the interests of others.

In the spring, both Lizzy–whose has no money–and Darcy–who appears to have more money than anyone–acted willfully. Now, with time to reflect, experience contrition, and make amends, they see things differently. Their hearts have moved closer together because both have managed to accept the mortification of their vanity and pride.

Meanwhile, Lady Catherine, willful as ever, attempts to browbeat Elizabeth into disappearing altogether. IMHO, Elizabeth’s words (which Jennifer Ehle never got to say, alas!) reveal the great thesis of all of Jane Austen’s magnificent stories:

Genuine strength and determination proceed from the harmony of your will with one thing: reason. Good reasons convince, and when the heart listens to them, it grows both tamer and immeasurably stronger and more capable of love. On the other hand, emotional manipulations only insult everyone involved. Willfulness for its own sake serves no purpose. Determination based on reflection and reason: this makes heroes.

What hero could be more altogether admirable and lovable than Miss Elizabeth Bennet of Herefordshire?

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Also, ICYMI: This weblog dedicated to a) God’s Word and b) all things Jennifer Ehle.

Good Work

St. Joseph gets two feast days. We do not wonder, Why does he get two? We wonder, Is two really enough?

On March 19, we focused on the husband of the Blessed Virgin Mary and foster-father of the Nazarene they called “the carpenter’s son.” Today we focus on St. Joseph the steady working man.

st-josephWork gets us out of the house, engages us with others, challenges us, and brings out our powers and our talents. Work gives us a worthy venue for spending our strength and our time.

We can make our work into a sacrifice for God: We offer our own personal labors—a small contribution to the great human undertaking of making the earth hospitable and fruitful—we do our little part as our act of submission to the great plan of the provident God Who gave us our time, our energy, and our talents in the first place.

In one of Jane Austen’s novels, the heroine lives with her kindly old invalid father. A minor character asks her, “Don’t you long for a husband or a change of some kind?” Emma replies: “Why should I be unhappy as I am? I do not lack employment.”

Emma didn’t have a “job,” as we would define it. But she had interests and dedication to the common good; she had energy; she had enterprise and style. She got up every day with things to do; she spent her days doing them; and she could while away the evenings comforting her father and then sleep the sleep of the just. She was living the rule of life which St. Benedict made the keystone of holiness for the Western world: “Pray and work.”

Ora et LaboraNow, many workers suffer unjust abuse of their energies and skills, working under inhuman conditions for inadequate compensation. Others languish in a miserable state of idleness because someone somewhere acted selfishly or meanly—and broke the great chain of relationships that is supposed to keep all able-bodied people working. Other workers have no joy whatsoever in their daily labor, either because they neglected their own education, or because they never had the chance to obtain one.

Emma Jane AustenThe good Lord gave us two things in the Garden of Eden, both of which were designed to lead simply to our fulfillment and happiness. As a race, we human beings have managed to make a big mess out of both of them. We have subjected both of them to our self-centeredness and the worst excesses of our capacity to be ignorant and cruel. Sex and work.

May God forgive us for our own personal contributions to this mess.

When the Lord consecrated St. Joseph to participate in the great work of welcoming the Christ into the world, He gave the human race a fresh start in the area of honest daily labor. With our eyes fixed on St. Joseph, then, we have the hope of living our days in the service of God. We have the hope of doing our part to redeem the world from the twin agonies of slavery and unemployment.

May St. Joseph always be our guiding light and keep us employed in the work which does us, and our neighbors, the most genuine good.

Bored Evil

In Emma by Jane Austen, Emma’s confidante Harriet Smith expostulates when Emma declares that she does not intend to marry: “But you will become a pitiable old maid!” Emma replies:

If I know myself, Harriet, mine is an active, busy mind, with a great many independent resources; and I do not perceive why I should be more in want of employment at forty or fifty than one-and-twenty. Woman’s usual occupations of eye and hand and mind will be as open to me then as they are now.

Emma’s confidence in her future prospects of wholesome activity helps to solve a riddle that has been thrust before us by Shakespeare’s “first tetralogy” of history plays.

The last of these four plays presents us with one of drama’s most infamous characters, King Richard III. Part of the speech with which Richard opens the play reads as follows:

Grim-visaged war hath smooth’d his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady’s chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
…I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.

The malevolence of the Duke of Gloucester pushes the limits of believability. He conspires to have his one brother order the other’s execution; then Richard himself sends in the assasins. He marries one widow with the sole intention of eventually having her killed. He has his best friend executed on a pretext. He orders the execution of his two young nephews. He betrays the confederate whose scheme lifted him to the throne. He lays plans to marry his young niece, in order then to have her killed.

In other words, Richard III is, as his own mother puts it, an “ill-dispersing wind of misery, a cockatrice whose unavoided eye is murderous.”

Sinon tricked the Trojans into bringing the horse into the city
But there is no denying: The most clever, the most intelligent character in the play is: Richard. And there is no denying that the strongest, most adventurous character in the play is: Richard. Richard III outclasses many of Shakespeare’s greatest heroes for intelligence and courage.

Hence the riddle: Why does the brilliant, daring hunchback disturb the peace like he does?

To explain it by his “ambition” only begs the question. Yes, in Henry VI, Part Three, he declared:

…since this earth affords no joy to me,
But to command, to cheque, to o’erbear such
As are of better person than myself,
I’ll make my heaven to dream upon the crown,
And, whiles I live, to account this world but hell,
Until my mis-shaped trunk that bears this head
Be round impaled with a glorious crown.

But he has no particular designs upon the use of royal power. He does not dream of regal exploits. Rather, he dreams solely of winning the crown by his superlative talent to deceive…

Why, I can smile, and murder whiles I smile,
And cry ‘Content’ to that which grieves my heart,
And wet my cheeks with artificial tears,
And frame my face to all occasions.
I’ll drown more sailors than the mermaid shall;
I’ll slay more gazers than the basilisk;
I’ll play the orator as well as Nestor,
Deceive more slily than Ulysses could,
And, like a Sinon, take another Troy.
I can add colours to the chameleon,
Change shapes with Proteus for advantages,
And set the murderous Machiavel to school.
Can I do this, and cannot get a crown?
Tut, were it farther off, I’ll pluck it down.

Act III, Scene vii of Richard III presents what may be the most bitterly ironic farce in the history of drama: Richard poses as a pious retreatant in the company of bishops. His accomplice Buckingham leads the Mayor of London and other grave citizens into the courtyard. Buckingham begs the prayerful, ‘virtuous’ Duke to assume the throne in order to stave off the chaos of an ungoverned state. Richard glibly protests. But he finally gives in–to the elation of the besnookered citizens!

Can we explain the chaos of destruction that Richard visits upon the realm by this: His is a genius that wants employment. Bored brilliance and strength of will menace the world like no other force of evil.