longbourne

Ti scriverei di come tu mi fai essere completamente me stessa e più vera di quel che pensavo si potesse mai essere.
Ti chiederei se ti manco come tu manchi a me, al punto che non c'è nessun altro posto al mondo che abbia senso, se non quello dove ci sei tu.
—  Jo Baker
  • Mr Darcy, probably: Do you know who I think is the ugliest girl in Longbourn? That Elizabeth Bennet. You know what I'd give her on a scale of one to ten, with one as the ugliest and ten as the prettiest? I'd give her an 8... 8.5... or a 9... but not... NOT over a 9.8. Because there is always room for improvement. Not everyone is perfect, like me. I'm holding out for a 10. Because I'm worth it.
3

Her astonishment at his coming - at his coming to Netherfield, to Longbourn, and voluntarily seeking her again, was almost equal to what she had known on first witnessing his altered behaviour in Derbyshire.

The colour which had been driven from her face, returned for half a minute with an additional glow, and a smile of delight added lustre to her eyes, as she thought for that space of time that his affection and wishes must still be unshaken. But she would not be secure.

“Let me first see how he behaves,” said she; “it will then be early enough for expectation.”

Mr. Darcy drew his chair a little towards her, and said, “You cannot have a right to such very strong local attachment. You cannot have been always at Longbourn.”

Elizabeth looked surprised. The gentleman experienced some change of feeling; he drew back his chair, took a newspaper from the table, and, glancing over it, said, in a colder voice,

“Are you pleased with Kent?”

—  Jane Austen, Pride and Prejudice
  • Lizzie: I live in Longbourn. You live in Pemberley. Everyone in the world knows who you are, my mother has trouble remembering my name.
  • Darcy: I’m also just a boy, standing in front of a girl, asking her to love him.
Mr Bingley’s Proposal to Jane

In Pride and Prejudice, the reader does not witness Mr Bingley’s proposal to Jane Bennet.

Consequently many fanfictions focus on it. These include:

‘Of Propositions and Eternal Happiness’ (2003) by Scarlet Rose

‘A Defining Visit’ (2005) by Rosa Cotton

‘A Proposal’ (2010) by Cactusin 

‘You and Me’ (2011) by razzle-dazzle1606

‘Jane’s Perfect Moment’ (2013) by JacquiT

‘Mr and Mrs Charles Bingley’ (2014) by JaneBingley

In Austen’s novel, Mr Bingley’s proposal is a private moment between him and Jane, enacted in the domestic setting of Longbourn’s drawing room.

The reader is Elizabeth’s companion, and returns with her to the drawing room to perceive a renewed intimacy between the pair:

“She [Elizabeth] perceived her sister [Jane] and Bingley standing together over the hearth, as if engaged in earnest conversation.” - Volume III, Chapter XIII

The placing of their engagement is fitting. It occurs in front of “the hearth”. The hearth is a symbol of love. Picture it bathing the scene in warmth and light.

Mr Bingley soon leaves the room to seek Mr Bennet’s permission to marry his eldest daughter; whilst Jane informs her favourite sister and the reader of her happiness:

“Tis too much! By far too much. I do not deserve it. Oh! why is not every body as happy?” - Jane Bennet. Volume III, Chapter XIII

afirewiel  asked:

What is your favorite non-Austen period novel? Movie?

Okay I’m gonna do a rundown of all my favourites because making me pick one is just mean. (Also at one point in my notes on the following books and films I just wrote “Bagels” and I can’t for the life of me think what I might have meant or autocorrected that from. Maybe a shopping list started to take form. I don’t know.)

(If the film Miss Austen Regrets and book Longbourn by Jo Baker count as non-Austen then include them.)

Films:

Lagaan: Once Upon a Time in India - 2001 (Sports! High stakes! Sticking it to the Colonial Man!)

Mozart’s Sister - 2010 (Beautiful music! Gorgeous androgyny! GIRLS CAST TO PLAY THEIR ACTUAL AGE AND NOT SOME 20-SOMETHING PRETENDING TO BE FOURTEEN!)

Possession - 2002 (I’ve tried the novel, and A.S. Byatt has some beautiful prose but her structures sometimes do my head in, so never finished it. Ignore Paltrow as best you can and enjoy lush Victorian Gothic mystery and the ending is one of the most poignant things I’ve ever been pleasantly surprised with on film, and it leaves you wondering about many, many things…)

Jodhaa Akbar - 2008 (You could put Hrithik Roshan and Aishwarya Rai in the worst commercial ever made and I would watch it. Costumes, scenery, and, as a friend once put it “I’m not sure how they did it, but they just had a sex scene without any sex.” Bravo.)

Water - 2005 (Deepa Mehta is such a fantastic filmmaker and I loved this whole trilogy but Water is my favourite.)

Elizabeth - 1998 & Elizabeth: The Golden Age - 2007 (The costumes! The caMERA ANGLES!!! The compli-fucking-cated mess that is Elizabeth I.)

[Okay Tumblr won’t let me embed any more trailers, but those ones are easy to find, they’re out there.]

Vatel - 2000 (Any foodie who is also a fan of The Sun King and his era will dig this one. A great score, baddie Tim Roth.)

Alternatively, in the same era: A Little Chaos - 2015. Storyline is a little weak, but it’s so beautiful and the cast is great and the M U S I C. Kate Winslet. Alan Rickman. Helen McCrory. STANLEY TUCCI.)

Also: they’re not films, but TV shows - honourable mentions to the Spanish series Gran Hotel. It’s like a good version of Downton Abbey, only sorta on crack and with a tonne more murder mysteries; and while I have some Issues with its so-called hero and some comparatively weirdo plot-points in S3, overall, it’s fantastic and I’m obssessed. Please don’t mix it up with the Italian re-make which looks horrible in every way. Like, main actors dressed in a poorly-sewn-table-cloth-bad.

And shout-out to the new CBC/Netflix series Anne. I will defend this show to the DEATH, alright? They’ve gone bolder and fresher and have managed to involve period realism in a moving way while retaining the sunshine-and-pinafores element that so many people love about L.M. Montgomery’s work. There’s heaps of women with production credits, and I think it shows. Geraldine James is already my favourite Marilla after one episode, and I feel like R.H. Thompson (HEY JASPER DALE HEEEEY!) and Amybeth McNulty are likely going to become my favourite Matthew and Anne, too. People have complained about this series going off-book and in particular some have condemned it sight-unseen because the writers/directors are putting a feminist spin on it and OH GOD THEY SAID FEMINIST QUICK WE GOTTA SET EVERYTHING ON FIRE BECAUSE CHILDHOOD IS RUINED, but honestly it’s just perky and gorgeous and scrappy and nobody can tell me to my face that Kevin Sullivan didn’t go all the fucking way off-book from the very beginning so I am not gonna sit here and insist that the Megan Fallows Anne of Green Gables was perfection which could never be improved upon because that’s just a plain lie. It was nice and it has its place but it’s time for some new blood. (And NOT the telefilms they’ve also come out with recently with Martin Sheen, bless his heart, but they took a brunette child actor and dumped an atrociously stark box of red hair-dye on her before drawing on her freckles and then telling her to please play everything theatrically to the back of the house even though there is a camera ten inches from her face.) I am HERE FOR ANNE. RIDE OR DIE.

AND NOW, FOR BOOKS!

After that you might assume my L.M. Montgomery recommendation would be Anne of Green Gables and sure I won’t say DON’T read them, but for my money the Emily of New Moon trilogy is more my jam and I wish to God and Netflix in all my prayers that there might someday be a decent adaptation of them.

I was really into Cassandra Clark’s Abbess of Meaux mystery series for a time, but then things went a bit pear-shaped in what I think was the fourth(?) book and everything was OOC and honestly I haven’t caught up on the later books after that and they seem to be self-published now but I am a sucker for nuns and mysteries so I’ll probably get back into it when I have time.

The Princess Priscilla’s Fortnight and The Solitary Summer by Elizabeth von Arnim. Vacation-reads! Beautiful prose, some wry wit, and fun hijinks. If you’ve ever wanted to run away and live in an isolated cottage in the wilderness for a little while, these are for you. [ETA: I recently got my hands on a copy of The Jasmine Farm so THANK YOU to one of you who recommended it I am loving it so far only I don’t see the appeal in Andrew so wtf Terry you can do better.]

Edward Rutherfurd’s geographical history novels–Sarum is the classic to start with, but the others I’ve read are very good, too. (London, New York, and I’m now working my way through a first-edition of Russka.)

Amy Levy. A M Y   L E V Y. Criminally under-recognized Jewish Victorian novelist and poet. Novellas Ruben Sachs and The Romance of a Shop. (RS a beautiful and bittersweet story about the conflicts between love, identity, and expectations, and some would say a response to George Eliot’s Daniel Deronda. TRoaS reading a bit like a less treacle-sweet variation on Little Women, where four sisters try to make their way in the world by setting up their own photography studio in late 19th century London.)

The Making of a Marchioness by Frances Hodgkin Burnett. Colonialist racism appears in this one, so be warned. Still the book is a THOUSAND times better than the utterly dreadful adaptation known as The Making of a Lady. Jane is better, Emily is better, Walderhurst is better, pretty much EVERYONE IS BETTER. The pacing is better. The plotting and suspense make actual sense.

The Scarlet Pimpernel by Baroness Orczy. A classic, and the grand-daddy of every secret-identity superhero.

The Forsyte Saga by John Galsworthy. Like, it makes me MAD how good these books are.

And last but not least, a non-fiction selection in Vere Hodgson’s WWII diaries: Few Eggs and No Oranges. Nothing else has ever brought the experience of living (or trying to) under the shadow of the bombs and the threat of invasion quite like these diaries. Fascinating details, engagingly written, and at times a stark reminder that the Allied victory we take for granted in our history could by no means be counted on by the millions who dwelt in daily uncertainty.

BUSINESS INFORMATION: Book-themed candles coming this June!

Hello, readers! I have some very exciting news regarding your favourite books; I’m making them into candles. This summer, as of around June 10th 2017, I’ll be launching my candle-making business on Etsy. When the website is fully functional, I’ll drop by with links. Because your feedback is so greatly appreciated, as well as your eagerness to see this project come to life, I’m going to be accepting ideas for candle themes in my inbox. Be sure to begin the message with CANDLE: “_____” to separate the writing requests from the candle requests. Feel free to include the book inspiring the scent, whatever you’d like it to smell like, and possible names. Here’s what you need to know so far:

  • Most of the candles offered will be inspired by books. More details of candle themes and ideas will be listed in the next bullet-point chunk. We will also offer historical candles based on monarchs, palaces, and time periods. Again, more information will be listed below.
  • The company is going to be run by one person, that person being me, until October 2017. That means that candle-making will be as fast as I alone can make it. After October of 2017, my business partners and best friends will be helping me make the candles.
  • The candles, so far, will remain universally white to disguise any scent-changing properties. A good few of the candles we’re thinking of making are going to have surprise scents that match in-book peril or changing events.
  • The money made from this company will be used to help us pay rent. We are all going to be running the company out of our apartment, so buying a candle will not only help you out by means of relaxation, but it will help us keep a roof over our heads!
  • The standard price of these book-themed candles will range somewhere between $10.00 - $12.00 for standard 8 oz. jars. Smaller tins will be available for a much lower price.
  • CUSTOM CANDLES ARE GOING TO BE AN OPTION. The price will be two dollars more for your custom candle, so keep that in mind when ordering! If I like the idea for your custom book-inspired candle, I may make it a regular on the website.
  • Shipping will be added to your final bill. I’m not sure yet of the restrictions I’ll have to enforce as far as shipping overseas, but I’m willing to try anything once.
  • Each candle will be hand-made by yours truly with soy wax, each scent hand-selected and hand-mixed. This is a project entirely of passion and acute detail. Each candle will smell just a little different than others of its kind due to the absence of heavy machinery in this process, but the scents will be as close to parallel as I can make them.

In case anyone is wondering about specific smells they might look forward to, here’s a list of what we’ve brainstormed so far. Enjoy, and let me know what you think of this slice of our selection!

BOOK CANDLES

  • Edward’s Meadow (Twilight inspired)
  • La Push (Twilight inspired)
  • Possible collections for Twilight: The Cullens (a collection of 4 oz candles inspired by each Cullen’s book scent) The Wolf Pack (a collection of 4 oz candles inspired by each member of the pack) and The Volturi (a collection of 4 oz candles inspired by prominent members of the guard)
  • Thornfield Hall (Jane Eyre inspired) - this will be a scent-changing candle with a surprise scent as the candle is running out!
  • Moscow (Anna Karenina inspired)
  • Petersburg (Anne Karenina inspired)
  • Longbourn (Pride and Prejudice inspired)
  • Pemberley (Pride and Prejudice inspired)
  • Netherfield Park (Pride and Prejudice inspired)
  • Possible collection for Pride and Prejudice: The Bennet Sisters (a collection of 4 oz candles inspired by each of the five sisters)
  • Baby Suggs’ Pie (Beloved inspired) - this one smells so good, I can’t even explain it to you.
  • SOMA (Brave New World inspired)
  • Birnam Wood (Macbeth inspired)
  • Fair Verona (Romeo and Juliet inspired)
  • House of Montague (Romeo and Juliet inspired) - a more “masculine” scent variation of Fair Verona, sold with House of Capulet as a wedding gift
  • House of Capulet (Romeo and Juliet inspired) - a more “feminine” scent variation of Fair Verona, sold with House of Montague as a wedding gift
  • Elsinore (Hamlet inspired)
  • All Hogwarts Houses as separate candles (Harry Potter inspired)
  • Darlington Orchard (Peaches inspired)
  • Victors Village (The Hunger Games inspired)
  • Green Light (The Great Gatsby inspired)
  • St. Swithin’s Day (One Day inspired)
  • Send The Bees Love (The Secret Life of Bees inspired)

HISTORICAL CANDLES

  • The Six Wives of Henry VIII as separate candles or discounted as a collection (Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard, Catherine Parr) - each wife of Henry VIII will have a specific scent that matches their personality traits.
  • Victoria and Albert (great candles for wedding gifts!)
  • Marie Antoinette
  • The House of Romanov
  • William Shakespeare
  • Queen Elizabeth I

Please be sure to message me if you’re interested in details! This, along with my normal job (which may end up being two jobs), and commissioned writing is helping me get through school and pay for an apartment once I graduate this time next year. Thank you all for supporting this idea!

To commission writing, see here.

To message me about candles, see here.

para-dig-m  asked:

i know this is character talk time.... but I would really love to hear more about your thoughts on the joe wright p&p adaption.

I think Wright’s adaptation is a superb one.

Joe Wright is always so skilled as subtlety : with true insight, he manages to express on screen, and without words, what has been written about the soul of his characters. In Pride and Prejudice, it relies primarily on symmetry, glances, and gazes.

He is very faithful to the book, and particularly to the constant and delightful humour of Austen : each scene is filled with such mirth, I’m always laughing out loud when I watch it; the awkwardness, especially, is delightful. Darcy, his gait, his tenseness, and Elizabeth perplexity are a delight. 

To convey Austen’s elegant, controlled style, Joe Wright does a great job with cinematography and scenery : painting scenes, symmetric scenes, slow traveling of the camera on a picturesque yet very classical, very subdued detail. Pride and Prejudice is not baroque in the least : its simplicity, in the colours (dark green, dark blue, white, brown), in the costumes, in the repetitive and piano-filled soundtrack, echoes the tranquil and beautiful domesticity of the original story.

The characterisation is absolutely stellar and I think in that, Joe Wright really showed his respect and understanding of the book; as I said before, his Darcy is Austen Darcy : the stutter, the controlled yet passionate hand, the rare but sunny smiles, the awkward posture and early blindness to his surroundings, and then that new degree of softness and warmth when we come back to him at Pemberley; more than anything, the hidden vulnerability, the sudden pain and anger on his face when he is hurt, and the trembling eyelids when his gaze must absolutely escape Elizabeth’s.

The Bennett as well are great: Wright decided to make the Bennett parents a little closer than they are in the book, and M. Bennett a little more loving than he is in the book, and I think it’s a lovely addition; in any case, their constant giggling, occasional stupidity, the dynamics unfolding in the scenes where they are all in the parlour or at dinner is deeply satisfying: a whirlwind of laughter, smiles, conniving (and signification-filled) glances, true warmth and intimacy in their hand choreography (give me this, give me that, carried on so smoothly), their surroundings always found in the happy chaos of true living (contrasting with the cold, immobile Netherfield and Rosings).

Keira Knightley’s Elizabeth is a true delight; still full of innocence and impulse—her rapidity of expression and limpidity of gaze convey both her youth and her cleverness, her insolence and her warmth. She manages to express her thoughts without having to speak: in her rigid or supple gait, in the angle of her neck, lowering of her eyelids, in the very distinct movements of her mouth. Their is a magnetism between her and Macfadyen that is actually heart-seizing, isn’t there? From the start, Wright decides to show us how similar they are, how instinctively they are linked, and it works so well.

All the casting to me is satisfying, except for Bingley who I thought lacked in elegance and prince-like charm—but Kitty and Lydia’s mixture of impudence and gaiety, Wickham’s charisma and transparency (the cold elegance of a paper hero), Charlotte’s plain but reassuring persona, Collins’ hilarious and enraging pretentiousness, Miss Bingley’s rat-like pettiness, Jane’s peaceful, magnetic softness, and Georgiana youthful charm (although that is an invention —Georgiana is very Darcy herself in the book, awkward and shy and timid) are all perfect.

What Joe Wright has chosen to put aside from the book, I think, is a show of his talent as an adapter: he got rid only of what wasn’t mandatory to the story, letting himself linger on the faces of his protagonists, their interior turmoil palpable behind the mask of conventions. Mrs. Phillips, the Gardiner’s children, the whole London’s storyline, Mr. Bingley’s second sister, the dinners leading to Jane and Bingley’s engagement… these would have been empty additions to a well-paced, beautiful movie.

Where Joe Wright loses me a little, however, is when he tries to add drama to a very lovely yet very human-scaled story; of course the idea is justifiable. He’s appealing to a romantic audience, who might not be satisfied with only subdued and subtle signs of affection. But I do like Austen’s no-nonsense writing, and her credible (somewhat, although she’s not above easy, lucky coincidences) string of events. For example, Wright’s scene for the engagement of Elizabeth and Darcy is a bit wobbly: they both meet in a field, in the morning after Lady Catherine’s visit to Longbourn. How could Darcy have known so soon what Elizabeth had said? How can they be meeting here, in an unknown field, and know they would find each other? And above all, why is his shirt slightly open, and Elizabeth all the while wearing pyjamas? It’s the 1800′s, guys. Get dressed.

Wright sometimes overlooks the rules of propriety and modesty in Pride and Prejudice, again for the sake of drama. It’s not a problem and to the neophyte spectator, it’s certainly not memorable; but it did irk me at times. Darcy entering Elizabeth’s bedroom to give him the letter, although she is alone and again, in her nightdress; Lady Catherine forcing herself into the Bennett’s household at night; Darcy running after Elizabeth; Elizabeth and Darcy being again and again thrown alone in a room, although the book always has them chaperoned.

What is beautifully done, however, is the slow discovery of Elizabeth’s own mind; the intensity of the feelings. It’s subtle, you know, both in the book and in the movie: otherwise the audience and readers could think Elizabeth changed her mind when she saw Pemberley, for example. But no —her fascination for Darcy starts just a little earlier than her visit, and gnaws at her steadily; at first, she cannot explain it; when she can, she’s horrified that she has lost his esteem forever. Her silence when Jane asks her about Rosings (which a departure from the book: she confesses Darcy’s proposal to Jane there), her single tear at night when Jane talks of Darcy and Bingley; her sole, heart-breaking admission in front of the mirror: I have been so wrong. Silently, slowly, passion has been growing on her side as well.

All in all, I think it’s a true, faithful, respectful hymn to Jane Austen’s work, and what Wright had to bring to the table in his adaptation is generally very successful, very thoughtful, and delightfully carved. He did such a good job.

casandsip  asked:

for the ask meme: elizabeth bennet and mr darcy

ROSE OMG I LOVE YOU I HAVE NEVER THOUGHT ABOUT THEM FROM A FANSHIP PERSPECTIVE THIS IS SO EXCITING okay okay let’s see

  • who’s the werewolf and who’s the hunter? OMG WEREWOLVES IN P&P I’m not going to make this AU okay it’s just an alternative Regency period in which werewolves are a thing because I say so. everyone thinks darcy is secretly a werewolf but he has an ALTER EGO WHERE HE HUNTS WOLVES AT NIGHT but oh my, that second Bennet daughter’s eyes are captivating, what strange allure draws him to her. meanwhile jane and lizzie go out frolicking in the countryside around longbourne on four paws and are perfectly amiable and civilised during the day. plot twist: wickham’s sob story involves darcy killing his father and then cutting wickham off from the living even though it’s not legal to discriminate against werewolves against whom nothing has been proved. 
  • who’s the mermaid and who’s the fisherman? LIZZIE FISHES with all her sisters. lydia tries to flirt with any merfolk they encounter because socially merfolk are considered a great catch (sorry I had to). But that fine figure of a merman who is apparently very wealthy won’t have anything to do with any of them. Until Lizzie accidentally tangles him in their nets. It was totally his fault, by the way.
  • who’s the witch and who’s the familiar: lizzie’s familiar disapproves of everything she does :( not really he’s just trying to convince himself that he’s not falling for a lowly human. and her fine eyes.
  • who’s the barista and who’s the coffee addict: lizzie. lizzie is the addict. darcy keeps making her coffee wrong and insisting she shouldn’t be drinking full caf when she’s pregnant. lizzie is in charge of her own body dammit and she can have her ONE REAL COFFEE a day without hurting the baby.
  • who’s the professor and who’s the TA: well this is just obvious. :) Professor Darcy is so old-fashioned in his pedagogical methods and also THIS line of theory would invigorate the students so much more than THAT one - well, Miss Bennet, they need to learn sufficient discipline to engage and utilise the theories of any line of thought, particular of such fine scholars and prominent minds in their field as…
  • who’s the knight and who’s the prince(ss): oooooh, this could work so well either way. and with any gender setup. Either knight Darcy who takes his duty incredibly solemnly and won’t even have a playful conversation with his princess because he is ON GUARD or knight Lizzie trying to convince prince(ss) Darcy to lighten up.
  • who’s the teacher and who’s the single parent: ha, well, we’ve already seen Darcy effectively parenting his little sister and Lizzie helping to lighten that relationship, so let’s carry on from pregnant Lizzie in the above and have a very strict but gentle teacher Darcy and single mum Lizzie working two jobs but still able to keep the house in order and dress amazingly and keep a sense of humour. 
  • who’s the writer and who’s the editor: “Darcy, you aren’t Victor Hugo, you need to trim these paragraphs down a bit. You’ve got a three-page block of text here. Oh, it’s very finely constructed, but it’s impossible on the eye.” “Well, we can’t all write frivolous light back-and-forth dialogue, Bennet. [which sparkles. like your eyes] Some of us take our writing seriously.”

anonymous asked:

If Lydia and Wickham hadn't run away (or had just done it later) and Lizzy had been able to see out her planned time in Derbyshire, do you think she would have got engaged to Darcy before she left?

99% no. Like, there are other circumstances which I suppose could make it happen, but if the only variable is the absence of the elopement and Lizzie lingering a bit longer in Derbyshire, I’m still going to guess no.

While her opinions of him are beginning to shift because he’s actually actively kind to the Gardiners and she hears some weird hints at his true nature via the housekeeper at Pemberley, and has already somewhat started to question Wickham’s Alternative Facts, the hammer that smashes the last of her formerly-held notions about Darcy IS the elopement, and, ultimately, his reaction to it. Thinking someone is not quite as much of an asshole as you used to imagine they were is a far cry from coming to love that person, and as her holiday with the Gardiners was always going to be a transient and brief time in the area, I highly doubt there would have been enough time to effect so deep a change in her feelings, even if Darcy could have gotten up the courage to ask again. (I know the 1995 miniseries hints at this with Darce getting his nice duds on and excitedly riding over to the inn to call upon them, but let’s be honest, he hasn’t done much more than make Elizabeth go ???? and maybe like him a little bit but she’s also still cringingly awkward around him because even though they’ve gotten past the whole SURPRISE I’M TOURING YOUR HOUSE moment there’s still the undeniable fact that their last major interaction was her telling him NOT IF YOU PAID ME ONE BILLION OF YOUR ENGLISH POUNDS AND WERE THE LAST MAN ON EARTH.

What exists between them is fragile–suuuuper-fragile. This is why, after the elopement, Elizabeth only then starts to uncomfortably realize that They Could Have Had Something, but by no means is she thinking WE HAD SOMETHING AND WE WOULD HAVE BEEN MARRIED WITHIN THE WEEK OH WOE. Her regrets begin to come out of figuring how wrong she was, the grief of the time and energy she wasted trusting Wickham, and how bleak the future looks for ALL the unmarried Bennet girls, in general, now, and not specifically “Darcy and I were meant to be and now ‘tis all done and gone.”

Things move a bit awkwardly and slowly after that, though Bingley turns up to put a ring on Jane, because Darcy and Elizabeth are still sorting out their own awareness of one another, and their involvements in the elopement and its fallout. Darcy doesn’t know SHE knows about him tracking down Wickham and paying off his debts to make him marry Lydia, but he knows enough of his own involvement to feel it is not honourable for him to then ride off to Longbourn and declare himself again because Elizabeth is going through her own shit with her family, right now, and it’s not like they had an openly-acknowledged Thing in Derbyshire, and if some hint of his involvement did get out, would she only think he’d done it as an indirect means of buying her regard, etc. etc. Doubtful Darcy has a lot of marks against his renewing his addresses to her, and so he holds off.

Of course, Elizabeth DOES find out about what he did, and while the money is a consideration, her gratitude is more due to what he’s done for her and her family–and the fact that he’s stayed away and tried to keep it quiet, evidently expecting nothing in return, is what unlocks her deepest appreciation for his goodness and character.

Then Lady Catherine turns up to be the final catalyst by goading Elizabeth into defending her personal right to not NOT marry Darcy, the scathing report of which from his aunt rather electrifies Darcy and signals to him that he might have a hope in hell, after all. Yet, still, he does not dare to speak until Elizabeth herself confirms that she knows all about what he did for Lydia, and by extension, herself and her whole family. That cat is out of the bag through no fault of his, and he sees that Elizabeth hasn’t taken it as a means of manipulating her, but that she truly admires him for it. Only then does he figure it’s worth the risk of asking again.

Basically, for an AU fanfic, Elizabeth Staying in Derbyshire is an intriguing idea, but it would need to have OTHER extenuating circumstances added to it in order to prolong her stay, and have other opportunities of revealing Darcy’s goodness without it seeming that he’s purposefully Showing Off in order to impress her. It’s the selflessness of his action on the Bennet’s behalf which seals the deal, so something similarly touching and deeply personal would have to come to Elizabeth’s attention. It’s one thing to see Darcy being good to others, but it’s the very great secret service he does for Elizabeth which she accidentally discovers which cements her regard for him.

First Impressions - Lin-Manuel Miranda x Reader (Chapter V: FINALE)

Summary: Your homecoming is wonderful, but Jasmine still hasn’t gotten over her own heartbreak. An unlikely hero helps along both her happiness, and yours. Mr. Miranda is the perfect gentleman and the love of your life. Happy endings become possible.

Warnings: None.

Word Count: 3,496 (the longest piece I’ve ever posted!)

A/N: We have finally reached the end of this series, and I wanted to post this on the day of Lin’s birthday to celebrate happy endings and contentment! Happy birthday, Lin. This is for you, and every single person who has supported this deliciously crazy idea. 

askbox | masterlist


The rest of your trip in London was fading into a blur, and fast. Each day was bleeding into the next and the hours you spent simply thinking about that same dark pair of eyes that had pierced you from the very start. To think that this misunderstanding was entirely due to your own prejudice and refusal to believe a good thing about the man made your thoughts whirl down a spiral of shame. Jasmine had been right. There is good in everybody.

Keep reading

  • Darcy: Come on, we're going to Longbourn.
  • Bingley: No, no I can't
  • Darcy: Why not?
  • Bingley: Because if I go to Longbourn Jane and I are going to become "the Bings"! I can't be "The Bings"!

malpal331  asked:

Would sisters like the Bennets be expected to share bedrooms or would each girl have her own? In the 95 P&P they appear to each have their own but in the 05 P&P Jane and Lizzie shared a room with the other three assumedly also sharing despite each Longbourn being roughly the same size.

I think it could really go either way. In the 1995 P&P it appears that Lydia and Kitty may share a room, so it may be that at least some of the five sisters must share a room between them, so those who get along best may do so. (Lizzie & Jane, or Lydia & Kitty.) It’s not made explicit, but sharing a room wouldn’t have been uncommon, and even Jane Austen and her sister Cassandra shared a bedroom for the whole of their lives together, as they were very close. Evidently they preferred this, even when they had the option of each having a room of their own.

As to the sisters Bennet, it’s not really made explicit who shares with who, but for a house of Longbourn’s size and the affectionate bonds between some of the sisters (and the need for there to be a spare room for a guest, as well,) I can see there likely being some room-sharing going on. And when guests come to stay it may be that the sisters temporarily share rooms where they normally would not. Longbourn seems a comfortable home, but the Bennets are not without their necessary domestic economies, so I would be a little surprised if each parent and every one of the daughters had their own bedroom. If indeed seven separate family bedrooms could be squeezed out of the dimensions of the house, some would likely be very small indeed.

archiveofourown.org
An Ever-Fixed Mark - Chapter 1 - AMarguerite - Pride and Prejudice - Jane Austen [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Chapters: 15/17
Fandom: Pride and Prejudice - Jane Austen, Pride and Prejudice & Related Fandoms
Rating: Teen And Up Audiences
Warnings: Major Character Death
Relationships: Elizabeth Bennet/Fitzwilliam Darcy, Elizabeth Bennet/Colonel Fitzwilliam, Jane Bennet/Charles Bingley


Summary:

One would think that having the name of one’s soulmate appear on one’s wrist on one’s sixteenth birthday would make matrimony much less complicated. It mostly does not. And not at all for Miss Elizabeth Bennet of Longbourne.

(A deconstruction of the “soulmate identifying mark” trope, using “Pride and Prejudice.” Trigger warnings in the tags.)


Look what I finally updated! :D

It’s Jane Austen’s birthday today! In her honor, why not dig into a re-telling of one of her classic novels?

  1. Longbourn by Jo Baker
  2. Jane and the Canterbury Tale by Stephanie Barron
  3. Pride and Prescience by Carrie Bebris
  4. Death Comes to Pemberley by P. D. James
  5. Pride and Prejudice and Zombies by Seth Grahame-Smith
  6. For Darkness Shows the Stars by Diana Peterfreund
  7. Mr. Darcy Takes a Wife by Linda Berdoll
  8. The Perfect Bride for Mr. Darcy by Mary Simonsen
  9. Sass and Serendipity by Jennifer Ziegler
  10. Prom and Prejudice by Elizabeth Eulberg
  11. Prada and Prejudice by Mandy Hubbard
  12. Emma adapted by Nancy Butler
  13. Sense and Sensibility adapted by Nancy Butler
  14. Pride and Prejudice adapted by Nancy Butler
  15. Northanger Abbey adapted by Nancy Butler
  16. Bridget Jones’ Diary by Helen Fielding
  17. Northanger Abbey by Val McDermid
  18. Sense and Sensibility by Joanna Trollope
  19. Lost in Austen
  20. Bride and Prejudice
  21. The Lizzie Bennet Diaries
  22. The Jane Austen Book Club by Karen Joy Fowler
  23. Austenland by Shannon Hale