one of my favorite things about pride and prejudice is that in the last third of the book Elizabeth’s internal monologue about Darcy is her admitting that she’s in love with him but also putting all sorts of qualifications around that statement that kind of …tamp down the level of emotion (the “feelings, if not as tender as Jane’s for Bingley, at least as just” line, even the whole thing about her and Darcy being well-matched objectively speaking) and as soon as she’s engaged you get the unbridled joy in the narrative about her own joy, cc: “I am happier even than Jane; she only smiles, I laugh.”
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I love just how blatant and embarrassingly obvious Darcy’s affection for Elizabeth is on your second watch through of p&p 2005. I love him describing an accomplished woman as someone who “must improve her mind by extensive reading” and immediately eyeing Elizabeth with her book. I love him asking Elizabeth to dance at the Netherfield ball when, at the previous ball, Elizabeth had told him that dancing was the best way to encourage affection. I love piecing together the shots and realizing that Darcy is almost always looking in her direction. I love realizing the reason Darcy is walking through the crowd at the Netherfield Ball is because he’s searching for Elizabeth. I love him coming over to hear Elizabeth play piano and I love him telling her that he has trouble conversing easily with people he’s just met and knowing he’s attempting to be open and vulnerable with her.
His first proposal is so jarring and unexpected for Elizabeth but damn girl this idiot has been openly pining after you this whole time
Both Pride & Prejudice and Much Ado About Nothing work so well as enemies to lovers because despite surface animosity, it's clear that both end couples really respect each other and for good reasons. I think you could even argue that with Beatrice, she spars with Benedick because she considers him a worthy opponent.
When Hero and Ursuala plot to make Beatrice fall in love, Hero instructs her to speak of Benedick and "praise him more than ever man did merit" and yet when Beatrice finally speaks, she doesn't disagree with their high praise, she says of Benedick:
For others say thou dost deserve, and I
Believe it better than reportingly.
Benedick likewise after his eavesdropping on Don Pedro, Leonato, and Claudio's praise Beatrice says:
They say the lady is fair; 'tis a
truth, I can bear them witness; and virtuous; 'tis
so, I cannot reprove it; and wise, but for loving
me; by my troth, it is no addition to her wit, nor
no great argument of her folly, for I will be
horribly in love with her.
Similarly in Pride & Prejudice, once the misunderstanding about Wickham is cleared away, Elizabeth is able to acknowledge to herself how much she respects and likes Darcy:
She began now to comprehend that he was exactly the man who, in disposition and talents, would most suit her. His understanding and temper, though unlike her own, would have answered all her wishes. It was an union that must have been to the advantage of both: by her ease and liveliness, his mind might have been softened, his manners improved; and from his judgment, information, and knowledge of the world, she must have received benefit of greater importance.
Darcy also finds that he admires Elizabeth, after initially dismissing her:
But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness.
All of these characters also hear and accept criticism of themselves. Both Benedick and Beatrice hear they are too proud to accept love, which they both overcome. Elizabeth learns that she judged Darcy without sufficient information and Darcy that his behaviour was not that of a gentleman. Their mutual acceptance of this criticism and their growth as people leads to their ultimate happiness.
Unfortunately, those who reproduce this trope often forget to build this foundation of respect and the acknowledgement, either personally or publically, that the characters have been wrong. Instead we get characters who mid argument begin ripping each other's clothes off. No growth, no understanding how they have been wrong, it just becomes "thin line between hatred and love" instead of "we grew towards each other".
But it’s the WAY Darcy says “Yes! Yes, I know…” when Elizabeth says “I’m very fond of walking”. As if when he offered to see her back to the village, he fully intended all along to walk her back through those damp, muddy fields because he knew that’s what would make her happiest. The man was ready to ruin his breeches just to spend a little time with her.
If anyone needs me, I’ll be setting myself on fire.
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“I wish the world were ending tomorrow. Then I could take the next train, arrive at your doorstep in Vienna, and say, ‘Come with me, Milena. We are going to love each other without scruples or fears or restraint because the world is ending tomorrow.’ Perhaps we don’t love unreasonably because we think we have time or have to reckon with time. But what if we don’t have time? Or what if time as we know it is irrelevant? Ah, if only the world were ending tomorrow. We could help each other very much.”
@filmnoirsbian x (from @willemdafoegf 's post // catherine lacey // chen chen // silas denver melvin // aloha from hell, richard kadrey // courtney love prays to oregon // @heavensghost // st. lucy’s home for girl’s raised by wolves // x // taylor swift’s “my tears ricochet” // this post @ceemetery
“Remember that he is not a god. Remember that he bleeds. Remember that his tears are not stars and his bones are not bedrock and his blood is not liquid gold. Remember that he suffers and hurts and sorrows. Be gentle with him, because the world will not remember to be kind. Remember too that he is not human. Remember that he is fated for the legends. Remember that he is not yours to keep. Remember that there are those stronger and greater than you who have already claimed his flesh as their sacrifice. Remember that when he stands before his destiny, you may be nothing but a voice in the back of his mind you may be nothing but a ghost of a touch across his skin. Love him anyway. And when they write that book about him, read it. They will lie and forget and get everything wrong. Read every book they ever write anyway. When the poets sing his name and the historians dig his grave, clutch close the truth that you held and felt and loved. Clutch close the boy who taught you to dance and spent the nights lying on a fire escape counting stars. You will want to keep that boy for yourself and keep his memory safe from the greedy fingers of the world. Do not. Remember again that he is not yours to keep. Tell the world about the boy. Tell the world how he loved sunrises but hated waking up for them. Tell the world how he built pillow forts and curled up with blankets. Tell the world how he wanted nothing more than to enjoy what is good and pure and beautiful in the world to protect it from harm. The world will not listen. The world will not believe you but tell them anyway. Tell them anyway. It is the only thing left you can give to him.”
was how horses simply give birth to other
horses. Not a baby by any means, not
a creature of liminal spaces, but a four-legged
beast hellbent on walking, scrambling after
the mother. A horse gives way to another
horse and then suddenly there are two horses,
just like that. That’s how I loved you. You,
off the long train from Red Bank carrying
a coffee as big as your arm, a bag with two
computers swinging in it unwieldily at your
side. I remember we broke into laughter
when we saw each other. What was between
us wasn’t a fragile thing to be coddled, cooed
over. It came out fully formed, ready to run.
was how horses simply give birth to other
horses. Not a baby by any means, not
a creature of liminal spaces, but a four-legged
beast hellbent on walking, scrambling after
the mother. A horse gives way to another
horse and then suddenly there are two horses,
just like that. That’s how I loved you. You,
off the long train from Red Bank carrying
a coffee as big as your arm, a bag with two
computers swinging in it unwieldily at your
side. I remember we broke into laughter
when we saw each other. What was between
us wasn’t a fragile thing to be coddled, cooed
over. It came out fully formed, ready to run.
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chloe moriondo - i eat boys / richard powers - the overstory / one million yen girl (2008) / mieko kawakami - breasts and eggs / anne sexton / silvas denver melvin - old world
No because pride and prejudice isn't "I changed myself for you so you would love me back." It's "your blatant rejection and disdain for me made me realize things about myself no one had ever been bold enough to tell me so I sat down and evaluated all my behavior patterns and why they came about and came to the realization myself that I had to work on myself. Also I don't expect you to love me now that I'm a work in progress, so I'm just going to do nice things for you because I don't like seeing you hurt." No wonder P&P fans refuse to settle.
-Miss Elizabeth i have strugled in vain and can bear it no longer, these past monthes have been torment, i came to rosing with the single object of seeing you… i had to see you. i have fought against my bitter judgment, my family’s expectation, the inferiorrity of your birthy rank and circumstance; All these things, i am willing to put aside and ask you to end up my aony
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