herewegoagainniall  asked:

What is it about Anne Elliot and Frederick Wentworth that make them your favorites? ❤️

Anne’s quiet strength, honestly. She is not so closed-off as Elinor Dashwood, but is rather constrained by the people she is surrounded by, and helpless to get away from them. Where she finds true friends, she eagerly becomes warm and friendly, and blossoms under positive attention. She does not have Fanny Price’s fearful timidity and over-grown sense of gratitude to oblige her to be subservient to others…rather she helps because she finds it easier to do so, and finds purpose in being useful, even if she knows she is neglected by those she helps. She knows/believes her isolation to be her own fault, and so she accepts her lot, but never truly compromises her beliefs again. (Refusing Charles Musgrove even if he could have given her a comfortable life, company, a family of her own to focus on, and better appreciation than she receives at Kellynch Hall from her father and sisters.) Being older, wiser, and sadder, she knows who she is and what she wants, but holds back from pursuing it by her own sense of remaining dignity and the belief that Wentworth wants nothing more to do with her, as she is well-aware of how much she hurt him in the past, and has no desire to hurt him any further, or pain herself with the indignity of throwing herself at him at all–especially if she believes a rejection to be inevitable.

As to Frederick, he is an IDIOT who does not deserve a second chance with Anne Elliot because he behaves atrociously to her and others, but as he is aware of just how big a douche he’s been by the end of the book and suffered terrible emotional distress due to it, I shall safely proceed with my praise of his virtues. 1) He is warm and kind, and strives to be thoughtful even if perhaps it’s not warranted. (Taking time to speak with the mournful Mrs. Musgrove about her dead son, even if said son was a Dick in every possible sense, because it’s somebody’s dead son, and as a Captain in war-time he’s seen enough men die and had to send the worst possible news to their loves ones, so he’s going to patiently sit and listen to this woman talk about a guy he probably loathed because it’s not about Dick, it’s about his mother and her broken mother’s heart.) 2) He is clever as shit. (Taking valuable ships to get that much prize-money in a shitty sloop like the Asp must have taken some luck, but also some baller strategies and intense leadership skills.) 3) He has fantastic manners, but is not so elegant that he’s stuffy and fake like the people Anne knows. (He recognizes and likes people for their individual merits, not who their father might be or what connections they may have.) 4) He’s the only Austen hero to be a self-made, working man. Edmund and Edward are clergymen, yes, but naval officers began training at age twelve for their careers, and also it’s difficult to compare a country parish living to active naval service in war or peace-time, when there is still plenty to do and dangers at sea. (We know some clergymen did not even fulfill their duties for preaching or other tasks, instead hiring a curate to undertake all the work for a pittance salary while they just collect their income and take it easy. Not that I’m saying Edmund and Edward do this, but the fact that it was a possibility and common enough for Austen to poke fun at it in her writing–her own father having been a clergyman, we must presume she knew of many such men–makes it hard to feel Edmund and Edward are being pushed to put everything on the line in the way Frederick would be.) 5) Kind of tying into that last point, he is brave as hell. Of course war is hell and modern foreign policy and the military industrial complex being a nightmare makes me something of a pacifist at heart, but I can’t retroactively un-do Napoleon’s shit, so here we are. If we gotta have war-heroes, at least we have Frederick Wentworth being all noble and studly about it.

So Anne would be drawn out into better circles of friends, with more easy and relaxed company among people who, like her, deserve to be admired for their characters and actions, rather than bloodlines or wealth, and in these circumstances, she would bloom like the beautifullest fuckin flower in the whole world, she would be unstoppable once she’s appreciated and able to unwind and let go and be her truest self. And FREDERICK. He lands his booty in hot water with the Musgrove girls because he is rather AWARE of his virtues and being rich and handsome and having the glory-aura of a hero and lets his pride, scorn for Anne because of his broken heart, and arrogance lead him into empty flirtations which he really ought to have been more sensible about. Secure in Anne’s affections, she would keep him just humble enough, once he knows that Anne’s admiration is the only admiration that really matters, and he has always had it.

afoolsfollower  asked:

Hi! Whenever I read Jane Austen I'm always struck by the fact that husbands and wives often refer to each other as 'Mr/Mrs Surname'. Do you know if this form of address was universal at that time/place and if couples used it in private as well as public? Thank you!

John Mullan touches on this in his wonderful book ‘What Matters in Jane Austen?’ and I believe the general etiquette of the time was to refer to one’s spouse by the Mr./Mrs. Surname thing as a general form of respect. Where we see this alter is in more affectionate marriages, where the husband will sometimes refer to his wife by her Christian name–however this is rarely reversed. Admiral Croft refers to his wife as Sophy, but in return she only ever calls him Admiral–but there can be little doubt of their mutual affection! Mary Musgrove calls her husband Charles, but then as a couple their levels of respect for one another are quite weak, and there is another Mr. Musgrove in her father-in-law up at the Great House, so just about everybody refers to Mr. Musgrove the younger as Charles Musgrove, to save confusion. In Mary’s case, calling her husband Charles is probably meant as a sign that she doesn’t much respect her husband.

As there aren’t any extremely private/intimate scenes between married couples in her books, we cannot know, of course, exactly what terms of address are used. It would really be determined by their own comfort levels and regard, of course. In public, however, is a different matter entirely. To even ‘nick-name’ a man by dropping the ‘Mr.’ is extremely cheeky and, as we see with Mrs. Elton and ‘Knightley’, informality bordering on the disrespectful which people in Highbury probably only put up with because Mrs. Elton is new and the vicar’s wife and they’re all going to have to get along for many years to come so best to let the little lapses slide…but it is a lapse, particuarly as Mrs. Elton has only just made everyone’s acquaintance. She’s moving too fast and being far too famliar.

Darcy and Bingley are Darcy and Bingley after a certain length of acquaintance when they are the subjects of discussion among the Bennets (particularly Jane and Elizabeth, and Mr. Bennet,) but to their faces, of course, they are always Mr. and Mr. (Of course the given name of Fitzwilliam is kind of a mouthful so fanfic tends to prefer to have Elizabeth refer to her husband as Darcy at all times. But in company she’d certainly call him Mr. Darcy.)

anonymous asked:

In Persuasion there's that bit where Wentworth is trying to play a tune for the Miss Musgroves. Was it common for men to know their way around a piano? Might Anne have shown him how to play that tune?

It’s possible a man might learn a bit of the piano from a lady he likes, if he’s musically-inclined, but for genteel sorts music is generally more a female accomplishment–a man might sing to accompany her playing, but not much else is often seen; but in Wentworth’s case I would say it’s far more likely he learned as a young sailor. Many ships might have instruments on-board as a matter of course, or brought in for special occasions, in order to amuse the officers. Balls were held on ships, and sailors became adept at finding ways to entertain themselves on long voyages. So for a sailor and an officer, a man would have to have a near-aversion to music or else appallingly low levels of talent and taste to avoid even learning to pick out a simple tune.

Of course, in Wentworth’s case, it’s open for interpretation and the idea that Anne might have taught him the song he was playing is extra-bittersweet. Whether he might’ve busted out such a song either on purpose to needle at her or unconsciously is another item up for debate, but I don’t see him being purposefully mean. (He’s trying to act as though he’s entirely forgotten her, in his flirting with the Musgrove girls, not actively wanting to bring up memories of what they had together.) But we know he’s also hyper-aware of the past and so I think he would be too guarded to let himself slip into playing a song which must have overt connections to the memory of his attachment to Anne, so although it’s not an impossible headcanon, personally I’d be inclined to think he’s just picked up a few songs, at least, in the course of his time at sea with an instrument on-board. Certainly he and Anne could have bonded over that, in the beginning. None of the men in her circle, certainly, seem musical at all. Sir Walter has his vanity as his hobby, Charles Musgrove his guns, and old Mr. Musgrove…whatever a country squire type does. William Elliot listens to music with apparent appreciation, but is only ever in the audience.

She knew that when she played she was giving pleasure only to herself; but this was no new sensation. Excepting one short period of her life, she had never, since the age of fourteen, never since the loss of her dear mother, known the happiness of being listened to, or encouraged by any just appreciation or real taste.


anonymous asked:

Has anyone asked you about how you think the Austen characters would be sorted at Hogwarts? Maybe if you have done the major ones then you could do some of the minor characters?

Sorry for the delay on this one. No one ever has asked me before, so I had to put on my thinking cap and do some sorting. (Or was that a Sorting Hat and do some thinking?)

[Full disclosure, I’m a Slytherin, I’ve always wanted to be a Hufflepuff, but I have come to accept my placement and acknowledge that it makes some sense. I’ve bolded the main characters to make them easier to pick out.]


Marianne Dashwood, Mrs. Dashwood, Eliza Williams (elder & younger,) Lydia Bennet, Tom Bertram, Maria Bertram, John Thorpe, Mrs. Allan, Sir Walter Elliot, Elizabeth Elliot, Mary Musgrove, Frederick Wentworth, Louisa Musgrove, and Mrs. Smith.


Elinor Dashwood, Colonel Brandon, Margaret Dashwood, Sir John Middleton, Mrs. Jennings, Fitzwilliam Darcy, Jane Bennet, Kitty Bennet, Charles Bingley, Georgiana Darcy, Lady Bertram, Mr. Rushworth, William Price, Harriet Smith, Robert Martin, Mrs. Weston, Mr. Weston, Miss Bates, Mr. Woodhouse, Isabella Knightley, Catherine Morland, Eleanor Tilney, Mr. Allan, Anne Elliot, Charles Musgrove, Admiral Croft, Henrietta Musgrove, Mr. Musgrove, and Mrs. Musgrove.


Edward Ferrars, Elizabeth Bennet, Mr. Bennet, Mary Bennet, Lady Catherine de Bourgh, Fanny Price, Edmund Bertram, Mary Crawford, Sir Thomas Bertram, George Knightley, John Knightley, Jane Fairfax, Henry Tilney, General Tilney, Lady Russell, Sophia Croft, and James Benwick.


John Willoughby, Lucy Steele, Robert Ferrars, John & Fanny Dashwood, George Wickham, Mrs. Bennet, William Collins, Charlotte Lucas, Caroline Bingley, Louisa Hurst, Mrs. Norris, Julia Bertram, Henry Crawford, Emma Woodhouse, Frank Churchill, Philip Elton, Augusta Elton, Isabella Thorpe, Frederick Tilney, Mrs. Clay, and William Elliot.

I find it interesting to note that the patterns I see out of this in particular with married couples is that Hufflepuffs can generally marry one another quite happily, but that [potential] matches within houses in the other three tend to be ill-advised pairings that bring out the worser qualities within their characters. Also, I will fully admit that I struggled on some of these, and could happily settle for having some in other houses. Naturally many of the antagonists have fallen into Slytherin house simply due to the overall stamp upon their characters being of a mercenary bent in novels built around a society and class which forced many to marry for money or powerful connections; but then I find that several Ravenclaw characters have a kind of supercilious elitism due to the lofty and cerebral virtues prized by stricter intellectuals–so you see a couple of ‘noble’ characters in there, as I found their strongest traits tended to be that kind of cool, dispassionate, black & white way of looking at the world. Gryffindors’ brash impulses can bring them into perilous places, and Hufflepuffs may seem like the dumping ground for characters that perhaps don’t fit in anywhere else explicitly; (but I think we can all agree that Hufflepuffs generally have good qualities that everyone can appreciate, though they may not always think to do so.)

I think all four houses show that there can be good and bad traits encompassed within the general concepts for the four Hogwarts houses, and so it mustn’t be presumed that all heroes and heroines must be Gryffindors, and all villains must be Slytherins. Plenty of Gryffindors have brushes with disaster thanks to their rash impulses and short tempers, and plenty of Slytherins may not be wholly bad people simply because they may pursue ambitions which are unlike those of their friends. The most prominent examples in the Slytherin house of my point are William Collins and Charlotte Lucas–both ambitious, both self-preserving, and both going about achieving their aims with what cunning they have. Mr. Collins is rather famously stupid by Bennet standards (and, as we are in sympathy with Elizabeth, by most reader’s standards, I would imagine,) but he is playing Lady Catherine’s game rather well, all things considered. Charlotte’s good sense perhaps helps him refine some strategies or make him less likely to expose himself to the censure of outside judgement, but if all you want is a comfortable living as a clergyman with a wealthy and powerful patroness? The reverend is on it, and so is his wife, in the end. Their characters and skillsets are by no means equal, but they are still both total Slytherins.

It’s not general personality traits like Good or Bad which necessarily pick your house for you–it’s what drives you, and how it drives you. What are your larger goals/intentions, and how do you get there?

I’m definitely willing to go into greater detail on specific characters, if anyone has any queries as to why I put them where I did.


Anne, coming quietly down from Louisa’s room, could not but hear what followed, for the parlour door was open.

“Then it is settled, Musgrove,” cried Captain Wentworth, “that you stay, and that I take care of your sister home. But as to the rest, as to the others, If one stays to assist Mrs. Harville, I think it need be only one. Mrs. Charles Musgrove will, of course, wish to get back to her children; but if Anne will stay, no one so proper, so capable as Anne.”

She paused a moment to recover from the emotion of hearing herself so spoken of. The other two warmly agreed to what he said, and she then appeared.

“You will stay, I am sure; you will stay and nurse her,” cried he, turning to her and speaking with a glow, and yet a gentleness, which seemed almost restoring the past. She coloured deeply, and he recollected himself and moved away.

- Persuasion, Chapter 12