Monday, August 30, 2010

The Heir to Longbourn by Laurence Fleming

I paid the import fees to get this book from England, thrilled to read an Austen continuation written by a man. After three years of devouring this stuff, Laurence Fleming is only male author I have come across (excluding those who insist on incorporating zombies and sea monsters, who I don't, frankly, count). As I cannot find a web page on him, I am assuming that he is not a woman writing under a masculine pen name. We need more men writing JAFF to help dispel the ridiculous notion that Austen wrote chick lit. The Heir to Longbourn is a fine contribution to this cause.

As the title suggests, the main plot line of this story revolves around who shall inherit Longbourn. The question is not as clear as Austen painted it, for with the death of Mrs. Bennet (and a bit of a makeover for Mr. Bennet), the possibility of a second marriage becomes quite probable, much to Mr. Collins' chagrin:
"But it is not only that," he said, "not only that at all. I gave myself the trouble of a journey to Longbourn only to find that your father, a grieving widower of less than a month's duration, had left there for Bath, of all frivolous localities, and that the house was actually in process of new decoration. There are to be new curtains, which I understand to be yellow, of all inappropriate shades, in the drawing-room, new paper in the room where Mrs. Bennet died - it was as though all memory of your mother were to be expunged. It was all too soon, Mrs Darcy, Miss Bennet. A year's deep mourning, in closed solitude at Longbourn, would  have been suitable. But to be Gallivanting off to London, in all the present circumstances, is by no means the action of a person worthy of respect."


"I think you forget yourself," said Elizabeth angrily. "The memory of the mother of five daughters cannot possibly be expunged so long as those daughters are alive; and the changes at Longbourn have been under consideration for a long time. My mother wished to bring them about herseld and would have certainly done so. We thought it best to have them made while my father was away."


"But to come to Bath, Mrs Darcy, a place known for its thoughtless frivolities and which can offer him no opportunity for serious reflection on the permanence of the event which has recently overwhelmed him - who can have made such a decision?"


"In choosing Bath, Mr Collins," said Elizabeth coldly, "I though only of the benefit to my father's health and spirits. e live very quietly here."


"And very well," retorted Mr Collins. "I am astonished to think that the estate at Longborn can support the expense of such a residence as this."


Elizabeth was now too angry to speak, and did not do so. It was Catherine who said, and in a voice which Elizabe5th had never heard before: "You may be quite easy, Mr Collins. It is the estate at Pemberley that supports us here."


"And not content with coming to Bath," continued Mr Collins, in royal rage and as though Catherine had not spoken, "he must needs go jaunting off to London before he has been here a week. Pray, what is the reason for that?"


"The reason for that," said Elizabeth, with an edge to her voice which she made no attempt to conceal, "is that my father is urgently in need of some new clothes. The last person to die in his family was his father, some thirty years ago. He has gone to purchase his mourning which, as you have said yourself, is liable to last for a year. I presume you have no objection to that?"


"I should have thought it possible to purchase mourning a little nearer home," said Mr Collins sullenly. "At his age there can be no requirement to be at the height of the mode. But none of this alters the fact that at no time have I been consulted. As the heir to his estate it is my right to be closely consulted about everything that appertains to that estate. The changes in the house at Longbourn are costly and unnecessary. This visit to Bath is costly and unnecessary. I can hardly express my sense of outrage sufficiently."


Elizabeth stood up, and Catherine with her.


"You appear to be under some misapprehension, Mr Collins," she said very politely. "It is my mother who has died, not my father. Until that event occurs you have no right whatever to concern yourself in what goes on at Longbourn, unless my father specifically invites you to do so. He has been his own master for a great many years and he is most unlikely to require any assistance, or brook any interference, from you or from anyone else."
Take that, you pompous windbag!

The Heir to Longbourn is not just a Pride and Prejudice continuation, also incorporating characters from Persuasion, Northanger Abbey, and especially Mansfield Park, with Maria and Tom Bertram taking center stage. Like Maria of Birkthwaite by Judith Brocklehurst, this book seeks to redeem Maria and free her from her exiled state. I find Mr. Fleming's method of doing this far more believable than Ms. Brocklehurst's, but take issue with his handling of other characters from Mansfield, particularly Fanny Bertram nee Price. Though we never hear or see her directly, an insider's account of Fanny makes her appear as dour as possible. I will not turn this review into a defense of Fanny Price, but I do so wish lovers of Austen would be a bit more sympathetic towards this most maligned heroine. I find it particularly frustrating when she is disparaged while Mary Crawford is lauded, as occurs to a degree in this book. Why are these two characters the only ones that Janeites do not trust Austen to have rewarded and punished appropriately?

There are two more books in this series by Mr. Fleming: The Will of Lady Catherine and The Summer at Lyme. I imagine they will continue to combine the stories of Austen's other characters with those of Pride and Prejudice. Both are now in my Amazon shopping cart. I look forward to further enjoying Mr. Fleming's thoughtful and surprising imaginings of where fate might have led these beloved characters.

Friday, August 27, 2010

The Third Sister by Julia Barrett

As August draws to a close, I find my pile of to be reviewed books appallingly large. All summer long I have been reading JAFF, but, instead of immediately posting my thought there, I delay and procrastinate until the details become foggy, blurred by time and the succeeding round of Austenesque. It's a bad habit I have fallen into, and which I hope will amended itself as fall begins. In the meantime, since I have no intention of rereading all these books (at least not yet), I will throw up a few more of these vaguer reviews, so at least the books are off my desk. I apologize to my readers and, more particularly, to the authors of these novels, for not giving each the comprehensive review it deserves.

Since I've been in Sense and Sensibility mode, I am going to start with The Third Sister by Julia Barrett, a continuation of that novel focusing, as the name implies, on Margaret Dashwood. This is the third book by Ms. Barrett I have read, experiencing very different reactions to the previous two. The first, Presumption: An Entertainment, was one of the earliest bits of Austen fan fiction I read. Its subject is Georgiana Darcy, and I thoroughly enjoyed the story, Ms. Barrett's use of language, and her ability to capture Austen's tone. Then I read Jane Austen's Charlotte (read my review here), a Sanditon completion, which I found convoluted in plot and almost incomprehensible. This latter experience made me a bit apprehensive of The Third Sister, but though it wasn't as pleasing as Presumption, I found it far superior to Charlotte. Here again Ms. Barrett successfully captures Austen's witty style, providing a pleasing continuation to Sense and Sensibility. I could not help but compare it to another Sense and Sensibility continuation - Willoughby's Return by Jane Odiwe (read my review here) - as both focus on Margaret. For a variety of reasons, I prefer Ms. Odiwe's book, but am nonetheless excited to have discovered another fulfilling Sense and Sensibility continuation.

The Third Sister is structurally similar to Sense and Sensibility. Margaret meets first one gentleman, then a second. She believes herself in love with the first, but, upon discovering him to be a scoundrel (which event allows gentleman number two to demonstrate his superiority), reassesses her affections. There is a removal from Barton Cottage to a place of hustle and bustle (Brighton, in this case) under the aegis of an older widowed woman, just like Elinor and Marianne went to London with Mrs. Jennings. But the Margaret Dashwood Ms. Barrett presents does not particularly resemble the original we know from Austen. In fact, the entire book seems to be written because she took offense at one particular line:
Margaret, the other sister, was a good-humored, well-disposed girl; but as she had already imbibed a good deal of Marianne's romance, without having much of her sense, she did not, at thirteen, bid fair to equal her sisters at a more advanced period of life.
Hence Ms. Barrett opens her story with, "Sorry is the portion of a third sister," proceeding to dedicate the majority of the first several pages of the book to admonishing Austen for being so cruel. Now this is very difficult for me: though I understand Ms. Barrett is being tongue-in-cheek on this point, I still shudder at the daring involved in leveling such a critique. Still, these passages admirably demonstrate Ms. Barrett's agile use of Austen's style, and I cannot but imagine the the "Genius" would approve:
To the contrary, by the time she reached her seventeenth year, our Margaret Dashwood stood proof that even Genius might at times be disposed towards too hasty an estimation. Margaret's singularity, when examined, was considerable. Not only was her judgment precise, her understanding was swift. She had read more widely as many, and comprehended more than most: nor was this learning achieved at any sacrifice to her sweetness of nature. Let her word be taken as of little weight, her own comfort regarded as disposable; her mind and temper persisted, one as good as the other, worthy enough, in short, to secure for her just tenure as our heroine.
Unfortunately, I never was able to feel much connection to "our Margaret Dashwood", enjoying far more the parts of the book that followed the actions of the Brandons and both of the Ferrars couples. If I had one complaint about Willoughby's Return, it was the almost complete absence of Elinor and Edward. No such issues here! Ms. Barrett flips back and forth between Margaret and her older sisters quite easily. The Third Sister is out of print but can be easily found used on Amazon (in hardback too!). I happily recommend it to all those craving more of the Dashwood sisters. .  

Monday, August 23, 2010

Sense and Sensibility Mash Up

Today I tackle mashing up Sense and Sensibility, which I think may be the book of Ms. Austen's that best translates to film. All the adaptations done of this story stick fairly closely to the original text, and all are satisfying in their own ways. Nevertheless, as each film has improved on its predecessor, the first - a 1971 BBC mini-series in four parts - cannot really compete in this contrary exercise in which I intend to indulge. It is for this reason that I posted a review of the film last Friday, as it is entirely unrepresented here. Still, between the 1981 BBC mini-series (this one was allotted an enormous seven parts, though in only half hour increments), the 1995 Ang Lee film, and the 2008 Andrew Davies mini-series, this was still the hardest mash up I have yet attempted. Some of the characters have been repeatedly represented phenomenally - like Fanny Dashwood and Willoughby - making selection very difficult. I know many will disagree with my final calls, but as I acknowledge the entire endeavor to be partial and prejudiced, I hope no one may think I slighted anyone intentionally. That being said, for your delectation may I present my Sense and Sensibility Mash Up? I hope you enjoy it!

(Check out previous mash ups - Emma, Mansfield Park, Pride and Prejudice, and Persuasion)

Elinor Dashwood - Though Irene Richard charmed me in this role (also familiar to Austen fans as Charlotte Lucas in the 1980 production of Pride and Prejudice), and Hattie Morahan was positively exquisite, I still prefer Emma Thompson in the role (despite being a bit too old for it). Yet I cannot watch the film without remembering those awesome final episodes of "The Vicar of Dibley", so memorable to Richard Armitage fans, in which Dawn French refers to Emma Thompson's reaction when Hugh Grant finally asks her to marry him. If you've ever seen it, by all means get a copy a check it out!

Marianne Dashwood - I'm sticking with 1995 on this one, though it was a tough call between Kate Winslet and Charity Wakefield. I went with the former because, frankly, I just really like Kate Winslet. Ever since first seeing the film (not long after first reading the book), she has been the Marianne in my mind's eye whenever I read the book.

Edward Ferrars - By far and away, I vastly prefer Dan Stevens' 2008 portrayal to any other Edward. He is more charming than Edward is usually imagined to be, which might have something to do it with it. I must admit that Edward is not one of my favorite Austen heroes.   







Colonel Brandon - On this one I am decidedly biased towards 1995. I adore Alan Rickman andwill always think he's the best Brandon, no matter how many phenomenal performances David Morrissey gives. I have nothing else to offer in justification of myself. 





John Willoughby - If I could blend Greg Wise's 1995 performance with  Dominic Cooper's physical appearance I would, but, as that would be against my self imposed rules, I'm going to pick Dominic Cooper (2008) for this role. He just looks exactly like I have always imagined Willoughby to appear (a slight resembles to my first boyfriend doesn't hurt either).

Mrs. Dashwood - Everyone who has played this role has done a fine job, but I prefer Janet McTeer's 2008 portrayal. She captures the sensitivity towards her children that Austen develops so well and looks every inch the lady of the manner. We really feel her the magnitude of her indignation at her social descent in this adaptation.


Margaret Dashwood - I lean towards Lucy Boynton in the 2008 production for this role, although her interpretation seems more based on Emilie Francois' 1995 performance than anything one might find in Austen. As none of the previous adaptations bother to include Miss Margaret, I guess we can assume that this hoydenish portrayal is the version cinema is sticking to.


Lucy Steele - I am going back to the 1981 version for this selection. Julia Chambers is the only actress who seems able to balance her innocent facade and the deceitful nature. The other portrayals lean either too far one way or the other for my satisfaction. Unfortunately, I could not find a better quality photo. 







John Dashwood - This was a very hard decision, but in the end I think I favor Mark Gatiss' 2008 performance, as he really comes off as, frankly, whipped, and inclined to act better were his wife not such a harpy. This feels, to me, more in keeping with Austen's intentions for him.








Fanny Dashwood - I imagine this must be a wonderfully fun part to play, as most of the actresses who have attempted it have done it so well, but I like Amanda Boxer's 1981 performance best. She has such a sneer! Her self-satisfied condescension is perfect.





Mrs. Jennings - Again, 1981 holds sway here. I really like Annie Leon's motherly portrayal of this part. She is both the ill-mannered and jovial lady Austen created while perfectly capturing the truly good heart that lays beneath the unpolished exterior, yet not an image can I find! You'll just have to watch the film!

Sir John Middleton - This is another role that just seems like fun and has been repeatedly performed well. I like Mark Williams' 2008 portrayal best. He's a perfect country squire while not being overly course. I also like how his friendship with Colonel Brandon is developed further in this adaptation.







Mrs. Ferrars - For whatever reason, none of the actresses who have played this role seem to quite capture the essence of the part, at least not at well as some Austen's other grand-dames have been portrayed (like Lady Catherine). I think Jean Marsh did the most justice to the part in 2008, incorporating a very appropriate haughtiness into her performance, but I wish she would have been less stoic (especially when she confronts Edward and Lucy).

Charlotte Palmer - I really like Hetty Baynes thoroughly silly portrayal of this part from 1981. Her incredibly annoying giggle sticks with me far more than any aspect from any other lady's performance as Charlotte, although a personal bias makes me long to give this role to Imelda Staunton -1995 (especially as I lament the lack of a decent image of Ms. Baynes).






Mr. Palmer - Although the interpretation of Mr. Palmer presented by Hugh Laurie in 1995 is significantly more sympathetic than anything Austen could have envisioned for the man, I like it, and I like Mr. Laurie. His performance emphasizes the similarities between the relationship of the Palmers to that of Mr. and Mrs. Bennet, a parallel which has long intrigued me.


Anne Steele - I prefer Daisy Haggard's 2008 portrayal of this part. Something about her toothiness makes her performance work far better for me than the others. It should be noted that Miss Steele was completely absent from the 1995 film - a sad omission of a fabulously comic character in my mind.


Robert Ferrars - There is a propensity to cast rather doughy-faced actors in this role, a practice I do not fully understand. Of the doughy-faced portrayals of this part, I think I find Richard Lumsden's 1995 performance most satisfying. Perhaps he is just less doughy than the other actors, but I do think he has a bit of the Ferrars haughtiness, which helps to make him rather convincing.



Images -

Emma Thompson - http://www.jimandellen.org/austen/janeausten.onfilm.html
Kate Winslet - http://movies.ndtv.com/GalleryDetails.aspx?ID=3505&category=Movies&picno=1&Section=Hollywood
Dan Stevens - http://austenefforts.bravehost.com/sensibility2008.html
Alan Rickman - http://www.likesbooks.com/blog/?p=898
Dominic Cooper - http://www.hecklerspray.com/top-19-cads-of-all-time/201044655.php
Janet McTeer - http://janeaustensworld.wordpress.com/2008/03/30/sense-and-sensibility-2008-makes-wonderful-sense-for-the-most-part/
Lucy Boynton - http://www.rottentomatoes.com/celebrity/1190128-lucy_boynton/pictures/?type=flixster&imageCount=9&rtImageCount=0
Julia Chambers - http://juanhuang772.spaces.live.com/?_c11_BlogPart_BlogPart=blogview&_c=BlogPart&partqs=cat%3D%25e5%25bd%25b1%25e8%25a7%2586
Mark Gatiss - http://www.pbs.org/wgbh/masterpiece/senseandsensibility/characters.html
Amanda Boxer - http://janeausten.com.br/page/45/
Mark Williams - http://www.pbs.org/wgbh/masterpiece/senseandsensibility/characters.html
Jean Marsh - http://austenefforts.bravehost.com/sensibility2008.html
Hetty Baynes - http://juanhuang772.spaces.live.com/?_c11_BlogPart_BlogPart=blogview&_c=BlogPart&partqs=cat%3D%25e5%25bd%25b1%25e8%25a7%2586
Hugh Laurie - http://www.theladiesofthehouse.org/Fan-Page.html
Daisy Haggard - http://austenprose.com/2009/02/09/masterpieces-sense-and-sensibility-2008-revisited-part-two/
Richard Lumsden - http://forum.blueharvest.net/index.php?showtopic=6955&st=40

Friday, August 20, 2010

Sense and Sensibility - 1971

I have been waiting for this film to become available on DVD for a long time, hoping to include it in my Sense and Sensibility cast mash up, which I plan to post this weekend (check out my similar treatments of Mansfield Park, Emma, Pride and Prejudice, and Persuasion). While I found it a lovely adaptation in its own right, none of the performances displaced the actors I already preferred in each role, leaving the 1971 BBC production of Sense and Sensibility totally unrepresented in my dream casting. However, having long anticipated watching this film and, of course, having an opinion on it, I decided to devote a post to it, thereby allowing me to share some of the highlights of the production with you, my always-hungry-for-Austen-adaptations readers. If you have no tolerance for other BBC productions of this era, there is no reason to believe that you will find this miniseries any more to your liking than Emma 1972 or Persuasion 1971. I, on the other hand, who am rather enamored of the style, found it a thoroughly enjoyable film and, in quality, rather more high budget than its contemporaries. One delightful surprise was recognizing Joanna David (below right), the actress who plays Elinor Dashwood, from another beloved Austen adaptation. Do you recognize her? I'll tell you why she looks familiar at the end of the post.

This production sticks fairly close to the book, the absence of a Margaret Dashwood perhaps the biggest deviation. Lucy Steele, as portrayed by Francis Cuka, is incredibly malicious: far more so than any other actress has played her. She is positively vicious. On the other hand, Kay Gallie provides the most mild Fanny Dashwood imaginable, allowing the viewer's hatred to lay more squarely on the shoulders of John Dashwood (Milton Johns) than is typical. Mr. Johns helps incite our antipathy by being perfectly odious - his resolve to help his step-mother and sisters even weaker than it is in the book. Avariciousness defines his performance.

Mrs. Jennings, played by a rather young Patricia Routledge (well-known as Hyacinth on Keeping Up Appearances), is extremely jolly with a hint of melancholy (perhaps a manic tendency?) to render her more sympathetic than usual. Unfailingly kind, she is also fidgety and rambunctious, often repeating her mantra - "I do, above all things in this life, adore the company of lively and entertaining young people" - which almost becomes a lament by the end. The emphasis is on her loss of daughters to marriage, particularly apparent in a monologue she gives after saying goodbye to the Dashwoods at Cleveland. I found it a thoughtful development of what Austen only hints at in the text, and a strong explanation for some of Mrs. Jennings more emphatic behavior.

Another interesting performance was provided by Robin Ellis at Edward Ferrars. He has a slight stutter than ebbs when he is amongst the Dashwoods and increases when he is uncomfortable (like when Lucy is around). It's a rather obvious device, but Ms. Ellis does it well. I was particularly impressed during the scene in which Elinor tells him about the living at Delaford, altered here so that she visits his lodgings to convey the message (and she finds him dishabille), where his repressed passion is manfully displayed. I thought he did a fine job of portraying the heartache of Edward's predicament.

I began skeptical of Marianne, played by Ciaran Madden, because she looks extremely mature for seventeen, but the performance grew on me as she presented a highly passionate portrayal. It doesn't hurt that she's positively stunning. Her Marianne is an extremely spoiled child, very much in need of those worldly lessons her sister anticipates. In spite of her tendency towards tantrums, the eagerness with which she greets what interests her is infectious. We can well understand what Colonel Brandon sees in her. I must mention an odd scene at the end when she instructs him on the proper pronunciation of the name Cowper, and that her flight from ball where she encounters Willoughby was rather over the top, but overall it was a fine rendition of Austen's most self-absorbed heroine.

Now I return to the very lovely Joanna David, whose performance is the best in the film. She is a very stoic Elinor (in proper contract to Ms. Madden's exuberant Marianne), betraying none of the struggle with her emotions that other Elinors so depend upon until the very end, when the relief that Marianne is out of danger finally causes her to break down, though just for a moment. Other members of the cast fling the words "prudent" and "practical" at her almost like a taunt until Edward makes them terms of ardent affection in his proposal. Ms. David's Elinor endures all her trials like a champion, making her just reward all the sweeter at the end. And where do we know this fine lady from? Why, she is none other than Mrs. Gardiner from the 1995 production of Pride and Prejudice! How I love Austen synchronicity!    

Images:

Joanna David 1 - http://c19.proboards.com/index.cgi?board=sense&action=print&thread=29233 
Patricia Routledge - http://austenprose.com/2009/12/29/sense-and-sensibility-1971-%E2%80%93-movie-review/
Robin Ellis - http://janeaustenpt.blogs.sapo.pt/18848.html?thread=37280
Ciaran Madden - http://c19.proboards.com/index.cgi?board=sense&action=print&thread=29233
Joanna David 2 - http://virtudej.com/pride-and-prejudice-jewellery/pride-and-prejudice-jewellery-part-v-mrs-gardiner

Wednesday, August 18, 2010

"Celebrating Georgette Heyer" with my review of Cotillion at Austenprose!


It's finally my turn to review for the Georgette Heyer celebration going on all August at Austenprose! I was thrilled to be able to blab about one of my favorite Heyer novels, Cotillion, a charming tale of one young lady's first trip to London. How innocent that sounds! Let me assure you that Kitty Charing, like all good Heyer heroines, has one too many pokers in the fire. Chaos and mayhem abound until everything remarkably works out all right. The book contains some of Heyer's most memorable characters. Read my review at Austenprose!

Tuesday, August 17, 2010

Read my interview with Kelly Yanke Deltener, the Jane Austen Squel Examiner

After reviewing First Impressions: A Tale of Less Pride and Prejudice two weeks ago week (read it here), Ms. Deltener requested an interview which I was, of course, ecstatic to grant. Please check out her question and my answers over at Examiner.com. Interviews have a remarkable way of teaching the interviewee more about themselves, and Ms. Deltener's thought provoking questions were no exception. Enjoy!

http://www.examiner.com/jane-austen-sequel-in-national/kelly-yanke-deltener

Monday, August 16, 2010

Arabella by Georgette Heyer

Those of you who have already read the wonderful interview Laurel Ann of Austenprose posted today with Vic of Jane Austen's World ("Why we love to read and reread Georgette Heyer") are aware that today is Georgette Heyer's birthday. In light of this event, and inspired by Kara Louise's wonderful review of Arabella last Saturday, I 'd like to add my own thoughts on this fabulous book, which I have enjoyed even more on the second perusal than I did on the first. Since Ms. Louise has already provided an overview of the book's plot (read it here), I am not going to bother with basic summary, instead indulging in some of the most memorable moments and morals of the book, celebrating Heyer's birth by emphasizing her incomparable flair for comic dialogue.

In Arabella, Heyer teaches us the importance of proper familial feelings. I love his adoring children's fine appreciation of Mr Tallant's benevolence:
'Bertram, I had rather by far he had beaten me!' said Arabella earnestly.


'Lord, yes!' agreed Bertram, shuddering. 'What a shocking thing! I'm glad I wasn't downstairs! It makes me feel like the devil when he gets to blaming himself. What did you say?'


'I could not utter a word! My voice was wholly suspended by tears, as you may imagine, and I was afraid that he would be vexed with me for not being able to contain my feelings better! But he was not. Only fancy! He took me in his arms, and kissed me, and said I was his dear, good daughter, and oh, Bertram, I'm not!'


'Well, you need not put yourself in a pucker for that,' recommended her matter-of-fact brother. 'He won't think it above a day or two. The thing is that his dejected fit is at an end.'


'Oh, yes! But it was much, much worse at breakfast! He would keep on talking to me about the London scheme - teasing me, you know, about the giddy life I should lead there, and saying that I must be sure to write very long letters home, even if I cannot get a frank for them, for he would be so much interested to hear of all my doings!'


Bertram stared at her in undisguised horror. 'He did not!'


'But he did! And in the kindest way, only with that sad look in his eyes - you know! until I was ready to give up the whole scheme!'


'My God, I don't wonder at it!'


'Mo, and to crown all - as though I had not borne enough!' disclosed Arabella, hunting wildly for her handkerchief, 'he said I would want something pretty to wear in London, and he would have a pearl pin he wore when he was a young man made into a ring for me!'


This staggering intelligence made Bertram's jaw drop. After a moment's stupefaction he said resolutely: 'That settles it! I shan't come downstairs today after all. Ten to one, if he saw me he would blame himself for my frisk, and I should be driven into running away to enlist, or something, because, you know, a fellow can't stand that kind of thing!'


'No, indeed! I am sure all my pleasure has been quite cut-up!'
Furthermore, Heyer reminds us that persistence and loyalty have their rewards:
In pursuance of this resolve, Mr beaumaris sent for his curricle next morning. Ulysses, who had shared his breakfast, bundled ahead of him down the steps of his house, leaped into the curricle, and disposed himself on the passenger's seat with all the air of a dog born into the purple.


'No!' said Mr Beaumaris forcibly. Ulysses descended miserably from the curricle, and prostrated himself on the flag-way. 'Let me tell you, my friend,' said Mr Beaumaris, 'that I have a certain reputation to maintain, which your disreputable appearance would seriously jeopardize! Do not be alarmed! - I am not, alas, going out of your life for ever!' He climbed into the curricle, and said: 'You may stop grinning, Clayton, and let 'em go!'


'Yes, sir!' said his groom, obeying both these behests, and swinging himself expertly up on to the curricle as it passed him. After a minute or two, having twiced glanced over his shoulder, he ventured to inform Mr Beaumaris that the little dog was following him.


Mr Beaumaris uttered an oath, and reined in his reluctant pair. The faithful hound, plodding valiantly along, with heaving ribs, and several inches of tongue hanging from his parted jaws, came up with the curricle, and once more abased himself in the road. 'Damn you !' said Mr Beaumaris. 'I suppose you are capable of following me all the way to Wimbledon! It now remains to be seen whether my credit is good enough to enable me to carry you off. Get up!'

Ulysses was very much out of breath, but at these words he mustered up enough strength to scramble into the curricle once more. He wagged a grateful tail, climbed on to the seat beside Mr Beaumaris, and sat the panting blissfully. Mr Beaumaris read him a short lecture on the evils of blackmail, which sorely tried the self-control of his groom, discouraged him peremptorily from hurling a challenge at a mere pedestrian dog in the gutter, and proceeded on his way to Wimbledon.
Most importantly, in Arabella Heyer reaffirms the universally acknowledged truth that nothing is so likely to snare a man than a lady treating him with a hearty display of indifference:
Arabella approved so heartily of this arrangement, that he took the risk of saying in a melancholy tone: 'Yes, but if it succeeds, I shall be at a loss to think of a pretext for getting you to drive out with me.

'Dear me, have I shown myself so reluctant?' said Arabella, raising her eyebrows. 'I wonder why you will talk so absurdly, Mr Beaumaris? You may depend upon it that I shall take care to be seen every now and then in your company, for I cannot be so sure of my credit as to run the risk of having it said that the nonpareil has begun to find me a dead  bore!'
Happy Birthday Georgette Heyer!



Continue to enjoy the Heyer celebration at Austenprose throughout the month!