Six of the possibly best Austen quotes

I’ve tackled a variety of Austen rankings in my time, but I never have offered up my absolute favorite quotes from each of the novels, probably because it is an entirely partial and prejudiced endeavor. Nevertheless, I could use a bit of lighthearted fun, so let's do this! If I engaged in this exercise again next week, I would probably land on different selections, but here are the lines that currently stand out most prominent in my mind, ranked according to my momentary and entirely vacillating preferences.

Hayley Atwell as Mary Crawford
Mansfield Park, 2007

#6. “Mr. Bertram,” said she, “I have tidings of my harp at last. I am assured that it is safe at Northampton; and there it has probably been these ten days, in spite of the solemn assurances we have so often received to the contrary.” Edmund expressed his pleasure and surprise. “The truth is, that our inquiries were too direct; we sent a servant, we went ourselves: this will not do seventy miles from London; but this morning we heard of it in the right way. It was seen by some farmer, and he told the miller, and the miller told the butcher, and the butcher’s son-in-law left word at the shop.” – Mansfield Park

I just love this line (Mary gets all the best in this book). It reveals something very quintessential about both Austen's world and her sense of humor.

• Runner up: Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can, impatient to restore everybody, not greatly in fault themselves, to tolerable comfort, and to have done with all the rest.

Jean Marsh as Mrs. Ferrars
Sense and Sensibility, 2008

#5. Her family had of late been exceedingly fluctuating. For many years of her life she had had two sons; but the crime and annihilation of Edward a few weeks ago, had robbed her of one; the similar annihilation of Robert had left her for a fortnight without any; and now, by the resuscitation of Edward, she had one again.

In spite of his being allowed once more to live, however, he did not feel the continuance of his existence secure, till he had revealed his present engagement; for the publication of that circumstance, he feared, might give a sudden turn to his constitution, and carry him off as rapidly as before. – Sense and Sensibility

I adore Austen’s narrative voice, and this bit of commentary on Mrs. Ferrars beautifully critiques the character’s absurdity. It makes me laugh every time I read it. 

• Runner up: “Altogether, they will have five hundred a-year amongst them, and what on earth can four women want for more than that?–They will live so cheap! Their housekeeping will be nothing at all. They will have no carriage, no horses, and hardly any servants; they will keep no company, and can have no expenses of any kind! Only conceive how comfortable they will be! Five hundred a year! I am sure I cannot imagine how they will spend half of it; and as to your giving them more, it is quite absurd to think of it. They will be much more able to give you something.” – Fanny Dashwood

Benjamin Whitrow as Mr. Bennet
Pride and Prejudice, 1995 

4. “An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. — Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do.” – Pride and Prejudice

There are so many fabulous lines and zingers in this book, but these three, short sentences strike me as both powerful and pivotal, excellently demonstrating the ruling dynamics of the Longbourn household.

• I have no less than four runners up for this novel. All are great:
• It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.
• “I am happier even than Jane; she only smiles, I laugh.” – Elizabeth Bennet
• “Kitty was no discretion in her coughs … she times them very ill.” – Mr. Bennet
• “Are the shades of Pemberley to be thus polluted?” – Lady Catherine

Romola Garai & Jonny Lee Miller as Emma Woodhouse & Mr. Knightley
Emma 2009.

#3. “Whom are you going to dance with?” asked Mr. Knightley. 

She hesitated a moment, and then replied, “With you, if you will ask me.” 

“Will you?” said he, offering his hand. 

“Indeed I will. You have shewn that you can dance, and you know we are not really so much brother and sister as to make it at all improper.” 

“Brother and sister! no, indeed.” – Emma

I had the hardest time choosing a single quote for Emma, as it is chock full of masterfully constructed text. In the end, I selected the above exchange rather than a single line, because the moment is magnificent.

• Runners up:
• “Never mind, Harriet, I shall not be a poor old maid; and it is poverty only which makes celibacy contemptible to a generous public! A single woman, with a very narrow income, must be a ridiculous, disagreeable old maid! the proper sport of boys and girls, but a single woman, of good fortune, is always respectable, and may be as sensible and pleasant as any body else.” – Miss Woodhouse (“Badly done,” Emma!)
• “You must go to bed early, my dear—and I recommend a little gruel to you before you go.—You and I will have a nice basin of gruel together. My dear Emma, suppose we all have a little gruel.” – Mr. Woodhouse

JJ Feild as Mr. Tilney
Northanger Abbey, 2007

#2. “The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid.” – Northanger Abbey

Mr. Tilney has maybe the best dialogue of any character Austen created. I chose this line because it is so quotable. I once seriously considered painting it over my bookshelves (crappy handwriting is all that stoped me).

• Runner up (from the same chapter): “My dear Eleanor, the riot is only in your own brain. The confusion there is scandalous.”

Ciaran Hinds as Captain Wentworth

Persuasion, 1995 

#1. “You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever.” – Persuasion

These are maybe the best words Austen ever wrote, totally ROCKED by Captain Wentworth. They make me want to jump up and cheer.

• Runner up: “My idea of good company, Mr. Elliot, is the company of clever, well-informed people, who have a great deal of conversation; that is what I call good company.” “You are mistaken,” said he gently, “that is not good company; that is the best.” – Anne Elliot and Mr. Elliot

So what are your favorites? Do you take issue with any of mine? Let us indulge ourselves in frivolous debate! It will be great fun.

The King's Speech - 2010

I finally, after repeated failed attempts, saw this film yesterday. First there was the countdown for the movie to be released, followed by my disappointment that it was only available in New York and LA. Then when it was finally available in a theater near me, each time I tried to see it it had already sold out. Now I know that in the little corner of the internet I inhabit, period films are big news, but let's face it: a movie such as The King's Speech being sold out, during a season when action and special effects packed blockbusters abound, is no small occurrence. And I do not think the movie's popularity can be attributed to the supreme sensibilities and elevated taste of the Wilmington area. It is an anomaly, and while I am, on the one hand, ecstatic to see a film of its ilk receiving such attention, I kind of also resented having to cope with large crowds and less than stellar seats to see it.

But let's discuss the film itself (I do not fear spoilers, as the plot is perfectly well-known). It is a charming story about the extreme difficulties of being a royal. Perhaps my favorite line (indeed, the entire scene was remarkable) was spoken during an argument between Edward VIII, who, having recently succeeded to throne, was not taking his duties very seriously, and the future the George VI (Bertie to his family and speech therapist, making it the most accessible name for me to employ here) who attempts to admonish him over his choice of life partner (the once divorced and still married Mrs. Simpson). I am not going to quote this perfectly accurately, I am sure, but it was something like this:

Edward: I am the King. Does that not come with any rights?


Bertie: It carries a great deal of privilege.

The scene ends with Edward accusing Bertie of attempting to steal his thrown and mocking his stammer, which leaves his younger brother, who had been making a quite forceful arguement, entirely unable to enunciate a single word in his own defense.

The story is rather fascinating, and I returned home anxious to find more information on the nature of the abuse this generation of royals suffered through as children. I did not learn much, except that all the children suffered at the hands of their nanny, Mary Peters. The film makes it appear that Bertie was her main victim. I suppose this isn't the kind of information the royal family is overly anxious to impart to the public. The main accusation leveled against her in the film by Bertie is that she didn't feed him, but even that detail the online sources failed to corroborate. However, though it is a moving story (and not all serious - there is a great deal of comic relief incorporated into the tale), the real strength of the film lies in the stunningly masterful performances of Colin Firth as George VI and Geoffrey Rush as Lionel Logue, the unconventional speech therapist. Both were phenomenal. At one point Bertie comments to Lionel that he often thinks about who the common man is when he sees them waving from his car window, but that he doesn't actually know. The great secondary plot of this tale is the friendship created across class lines, and the universal humanity of all people that it highlights, be they elevated or obscure.

When we think of physically challenging performances, we usually picture actors and actresses violently altering their bodies in preparation for a role, but I think Firth must have suffered agonizingly for this film. The tension so perceptible in his throat as he struggles to omit words was stunning to watch. The two actors interact together beautifully, capturing the kind of charisma usually reserved for romantic counterparts. That is not to say the the relationship between Firth and Helena Bonham-Carter, as Elizabeth, (whose hats made me drool) was not sparkling in itself. They painted a touching picture of a couple deeply in love, prepared to stand by each other through the seemingly most insurmountable challenges imaginable.  

Though the story was highly engaging, its the performances that make this movie the masterpiece that it is. Those of us who have for so long lauded Firth's remarkable abilities can take great satisfaction that this is the film that is likely to finally bring him the Academy Award he has so long deserved. As my husband and I left the theater, there were two women discussing him in front of us in the parking lot. They were attempting to recall what else he has been in, mentioning one or two of his most recent films, and I couldn't help myself but to call out, "He was in Pride and Prejudice!" One of them looked at me in confusion for a moment, and then a look of recognition seemed to dawn upon her face, and she said, "That's right. So he was." No matter how wonderful this role is, he will always be, first and foremost, Mr. Darcy to me.

One last, thought - Firth is not the only Austen performer to grace the screen in this film. Jennifer Ehle, Elizabeth Bennet herself, played Mrs. Myrtle Logue (the other unconditionally supportive wife of the piece), and Michael Gambon (may I say Dumbledore himself?), who was Mr. Woodhouse in the most recent production of Emma, is George V. 

Note: I should have also included David Bamber (thanks Vic!), in the small role as theater director, who is another 1995 Pride and Prejudice veteran, having nailed the role of Mr. Collins.What a reunion!

Image: http://www.starpulse.com/news/Two_Jews_On_Film/2010/21/review_the_kings_speech_two_jews_on_fi