The harp was considered a particularly graceful and feminine instrument, permitting elible young women to show off their charms and attract potential suitors. Many upper-class women, especially those in boarding schools, learned how to play instruments like the harp to make themselves more appealing in the marriage market.

Read more about the harp as status symbol here

This was an odd match for the time. In Regency England, the average age of marriage was between 23 and 27 for women and between 25 and 29 for men.

Source

Mesopotamia is a place of marriages that are upheld to be a closed relationship. It is also a very interesting law, because it is similar to "Thou shalt not commit adultery", from The Ten Commandments.

This is the first remarried woman in Austen's writing. While it was discussed in Persuasion, it was in much more generic terms, and mostly regarding men. This is an interesting dynamic.

Mr. Arthur Parker seems interested in the Miss Beauforts as earlier he thought a short walk to Trafalgar to be a lot of exercise, but he is willing to do a bit more to see the ladies. He is one of several single men in Sanditon and he is likely a contender to be a part of a marriage plot. This is assuming that, like all of Austen's other novels, Sanditon contains a marriage plot.

The question is why Charlotte should view the meeting between Sir Edward and Miss Clara Brereton as bad for the latter. Is it because Charlotte already formed an unfavourable opinion of Sir Edward as being a lover of Miss Clara's while talking "nonsense" to Charlotte in order to annoy Clara and appear an admirer of hers too? Charlotte finds Sir Edward tiring and may think he is, despite his title, beneath Clara. However, Charlotte does note that Clara's poverty makes her acceptance of Sir Edward's attentions more understandable. If so, then Austen is acknowledging the need for women to consider economic benefits to marriage, while also possibly giving her support to the idea of love in marriage.

This quote epitomises the marriage market where one must consider financial and class implications when considering marriage, as opposed to love.

When considering class distinctions, it will be interesting to see how this relationship will play out.

I predict that this character will be relevant to the marriage plot. The idea of a young person in this kind of circumstance reminds us of the Crawfords or Catherine Moreland. Single individuals living with relatives have, in other Austen novels, been very relevant in the marriage plots.

Links to common words/themes throughout the annotations

I find it surprising that, to Milton, "fit conversation" was the purpose of marriage and his ideal of paradise.

Mrs. Bennet is so upset with Elizabeth not accepting the proposal because in the late 18th century getting married was important for young ladies, for future economic concerns, especially for those women who wouldn't be left anything after their father's death (Maurer, Courtship and Marriage).

According to and article titled Courting the Victorian Women, "Courtship was considered more a career move than a romantic interlude for young men, as all of a woman's property reverted to him upon marriage". Mr. Bingley traveling is discussed as everyone's business, and "reports" are updated of his whereabouts. It's not that the town where the Bennet's live is gossipy, but rather so many young women are hoping to marry Mr. Bingley and wait for the opportunity to run into him conveniently, or can know how many times he has gone to see Jane Bennet etc.

The tradition of a daughter being married well off, is such an event that Sir Williams came over to the Bennets just to declare the news. This is significant because according to Sparacus Educational, there was "the idea was that upper and middle class women had to stay dependent on a man: first as a daughter and later as a wife". Sir William Lucas is now free from the burden of providing for Charlotte, and has passed on the responsibility of caring for her to Mr. Collins. His excitement of the engagement isn't to boast getting rid of her, however, but his relief that his daughter will be sheltered and taken cared of when he's dead and no longer can (especially since Charlotte was already growing old and not described as pretty, which made people assume her fate was doomed).

Austin's use of diction to determine a major factor of Charlotte's decisions on marriage.

Yes, and this is where the reconsideration of "modernity" also comes into play. What is a "modern" marital decision? Who is allowed to make such judgements?

Wow! This is a great excerpt. Here, Moe not only identifies Elizabeth's misjudging of what a "modern" woman chooses, but she again also points out Elizabeth's flaw in putting words/thoughts in other peoples' mouths/minds. Charlotte is (assumedly) content in her role, but it is Elizabeth projecting her own fears onto Charlotte's decision that makes her, in the end, a poor friend to Charlotte. This, again, further the nearly impossible question: who is the more modern woman?

Something a reader should question, however, is the context of Darcy's comment. Does he say this because it's truly how he feels, or because he wants a wife in Elizabeth, as well? Also interesting how because Darcy makes opinion of Charlotte as a wife, it becomes assumed as "correct"

One of Elizabeth's flaws, I believe, is that she often feels that everyone should think and react like her. She does not understand why Charlotte would marry Collins, but is not truly willing to try and empathize with her decisions.

Moe's comparison of Elizabeth and Charlotte strengthens her arguments about the institution of marriage within this time frame. Though both women have different expectations of what mate they will end up with, they are both inherently and consciously seeking marriage. But how does this play into the concept of modernity? Does that make them both un-modern? Or does the method of how they both were marriage make their distinct in their different levels of modernity?

Moe seems to contradict herself at times. Is Charlotte "modern"? Within the same paragraph, she seems to promote Charlotte choice, while also diminishing it. Or is Moe trying to argue that despite an optimistic, "modern" thought process, women's happiness and success are still in the hands of the men they marry? It is unclear.

I would argue that this is a "modern" determination of marriage for the period.

It's interesting that so many contemporary readers see Elizabeth's marriage as very conventional, when she is striving to fulfill this "future self." I would be interested in seeing Moe identifying the many critiques of Elizabeth's marriage as non-modern, and working through them to defend her argument.

Moe purposely poses the two characters against each other to express their severe difference in behaving "modernly." Yet, this succinct sentence is a disservice to the full reasoning for Charlotte's choices. It is easy to judge Charlotte as a contemporary reader, but her decision--though not remarkable--it still not something we should completely bash.

But couldn't this definition of marriage, then, apply to Charlotte and Mr. Collins? Before their marriage, Elizabeth thought quite highly of Charlotte. Couldn't Charlotte's strong qualities improve Mr. Collins'? And though he is not an exceedingly charming character, I am sure he has a few qualities that Charlotte could be improved from.

At first, this concept seems a bit unrelated to the article, as Moe begins to discuss Elizabeth Bennet's sensitivity and the impact of other characters' choices on her. However, this is Moe's method of bringing up narrative, again, as she describes Austen's methods of using narrative to expose this emotional, affected side to Elizabeth. She also bridges this back to the discussion of marriage and why Charlotte's marriage feels so personally offensive to Elizabeth.

Moe aptly presents her argument again, as she argues that Elizabeth's frustration with Charlotte, for example, has to do with her own issues managing her frustration with "social forms." Moe allows the reader to "fill in the blank" here, as the reader can use this piece of information to better understand Elizabeth's reaction to Charlotte--her frustration is in Charlotte's refusal to resist the social forms that inherently oppress women and impact the emotional aspect of marriage. By giving her reader room to make this judgement herself, Moe's argument consequently becomes more concrete.

The different theses Moe presents to her reader are all an original take on reading Charlotte and Elizabeth's argument, and Charlotte's individual views, especially considering the extensive description of the typical reading of these characters which Moe provides us with.

This introduction, though at times distracted from the main point through inclusion of so many outside theories and readings of Elizabeth/Charlotte/Austen, definitely engages the reader, provides grounding for Moe's argument, and makes this subject appear significant in understanding the conflict of modern viewpoints in Pride and Prejudice, as well as to better understand Charlotte as a character and her decisions.

THESIS part 1: diverse methods of thinking/feeling about marriage and why this matters to Austen (through focusing on Charlotte)

Moe acknowledges Elizabeth as the "modern" character, though her modernity is still restrained by the necessity of her getting married.

Now we seem to be back on topic, concerning narrative and modernity, in reference to the marriage plot.

Another point of Moe's argument. She contends that marriage and "conjugal intimacy" develops characters differently, based on their opinions on the subject.

It is important to relate the concept of cultural modernity and Charlotte's choices to narrative, as that is the main point of the argument (though Moe's thesis is not clearly stated just yet). Also fascinating to label all the minor characters are developmental aspects to Elizabeth; this is quite dehumanizing, but is quite arguable. Austen, therefore, purposefully has Charlotte marry Collins as part of further promoting Elizabeth's vehement feelings about marriage.

Moe is methodically challenging Austen readers who nearly worship Elizabeth Bennet and believe she can do no wrong by using quotations here, implying the idea that although Charlotte does not abide by the same ideology of marriage that Elizabeth does not mean that she is "wrong" for making these choices. This is a purposeful, and clever, way for Moe to extend Charlotte's likability.

Moe points out that many Austen critics do not view Charlotte's decisions regarding marriage as "modern," yet as a victim of the 18th century patriarchy, Charlotte's actions make a lot of sense.

Let's not also forget that Charlotte is older than Mr. Collins by two years He is 25 (99) and she is 27, as Moe's later quote states. This makes her "scheme" even more successful, as he would still marry her despite her burgeoning "old maid" status.

Love Marriage vs Arranged Marriage

In her conduct book, Letters to Young Ladies on their Entrance into the World (1824), Elizabeth Lanfear warns women not to rush into marriage: "love-matches, at least those which are generally so called, do not always prove the happiest ; and, when entered into rashly, or at an early period of life, before either the taste or the judgement are sufficiently matured, mutual disappointment is too frequently the result" (Lanfear, p. 49). Lanfear is stating the possibility that marriage can lead unhappiness and warns women not to rush into marriage. If Colonel Brandon proposed the idea of marriage to Charlotte to Sir John, Charlotte might have needed Lanfear's advice not to jump into marriage so rashly.

Elizabeth Lanfear describes the repercussions of marriage and the commonality of how marriages occur: “marriage, generally speaking, in either sex, is more frequently the result of accident than of selection : propinquity, convenience, interest, or, at best, mere fancy, dignified by the name of love, forms the basis, of most matrimonial engagements” (Lanfear, Young Ladies on their Entrance into the World, p. 47). Lanfear's statement on marriage relates to this moment where Elinor notes her knowledge of this common type of marriage. In relation to Lanfear's statement, Elinor notices the infatuation between Mr. Palmer and his wife being the main attraction that led to their marriage.

In her conduct book published in 1824, Elizabeth Lanfear explains the etiquette expected from married women: “a sensible woman, to preserve the peace and secure the affections of her husband, will often sacrifice her own inclinations to his” (Lanfear, Young Ladies on their Entrance into the World, p. 67). Lanfear states that married woman are expected to sacrifice their tendencies and desires for those of her husbands. In regard to the relationship between Charlotte Palmer and her husband, this same etiquette is very strongly illustrated. In this particular moment, Charlotte is being selflessly tolerant to her husband's comments whether or not her husband's actions affect her.

The typical engagement period in early nineteenth-century England is about 6 months to 2 years.

Approbation means the "action of expressing oneself pleased or satisfied with anything; or the mere feeling of such satisfaction; approval expressed or entertained" (OED).

According to the customs of the time, parents were to be consulted about a marriage and their opinion to be taken in high regard; however, men and women were mostly free to choose their marriage partner. If a young adult did choose someone who their parents disliked, they might be left out of the will or, if they are underaged, they may have permission withheld from them. Parental opinions were often respected by young people. ( Elizabeth Maurer, "Courtship and Marriage in the Eighteenth Century", Web.)

Again, making light of marriage. Is George Elliot making fun of how quickly people get married and how expected that is?

I feel like the narrator is down playing everything to accentuate its haste and rashness. Why? Is it simply to hook in the reader before going back to Featherstone in the next chapter? Or will their marriage be like Dorothea and Casaubon's too?

In marriages, women have no right to to report or divorce their husband when thay are in a violent situation that's occur ring in the marriage.

Go to chapter 5

Translator's note: cf. EN "marriage" : PT "amarrar" 'to tie, to bind'

Sibyl's dialogue here promotes Wilde's idea that within marriage passion for doing what one loves is lost as Sibyl's recalls her love for acting, and joyfully casting it away in awe of her engagement, blind to the loss of her own passion.

Wilde utilizes this dialogue to convey a message on individuality when Harry expresses his views on marital commitments, and how they strip one of them. Perhaps this is Wilde's way of addressing the societal expectation of marriage, and presenting the case that in most instances, those married loose themselves to the marriage once life has been consumed by it.

Wilde provides commentary here on the confinement of marriage and the commitment it demands. Through Harry he illustrates a life of playful nature and deviance for men and one of innocence and modesty for women.

Very Similar today. If Marriage was supposed to be sacred, then why were they so tolerant?

I hope that the focus on prohibition by the drug policy reform movement helps sidestep a similar effect happening with cannabis.

1.205 Cyrus sends a marriage proposal to Queen Tomyris of the Massegetai in order to capture her holdings through political alliance rather than through battle. Tomyris is not feeling it though.