1581

01.11. Barthel Scholz, Anna Pazsch

05.11. Christoph Paz, Martha, Valten Udolph

1597

23.11. Hans Czscheile, Barbara Ferman

1598

22.02. Barthel Scholz, Barbara Merwitz

1630

Feb. Hans Kürbiß, Martha, Barthel Schultz

1647

21.11. Paul, Paul Pietzsch, Martha, Hans Kürbiß

1628

05.02. Georg Sohrmann, Barbara Patz

1611

05.05. Elias, Jeronymus Patz, Maria, Christoph Patz

1633

Feb. Georg, Peter Borisch, Maria, Elias Patz

1596

28.01. Lorenz Seifert, Barbara, Marte Möller

1627

28.10. Georg, Hans Grale, Barbara, Lorenz Seyfrid

1578

12.11. Abraham Paz, Barthel Paz, Dorothea, Greger Scheinpflug

19.11. Georg Pazsch, Philip Pazsch, Anna, Peter Andrie

1612

15.11. Petrus, Peter Glatewitz, Barbara, Georg Peterman

1603

30.10. Paul Ganßauge, Margreth, Wenzel Tize

1616

03.11. Peter Andrie, Catharina, Blaß Müller

1598

08.11. Georg Pazsch, Barbara, Gregor Potzscher

1599

31.01. Donat Schulz, Barbara Schröter

1632

06.02. Gregor Faust, Barbara, Hans Winckler

1585

27.01. Blasius Faust, Margreth Schröter

1614

07.06. Gregor, Blaß Faust, Dorothea, Georg Pitsch

1620

06.01. Gregor Faust, Regina Kretschmar

1587

22.11. Georg Franz, Hans Franz, Margreth

29.11. Gregor Faust, Christoph

1605

30.10. Bastian Müller, Gertrud Fickler

1637

26.04. Hans Rudolff, Barbara Sohrmann

1659

25.10. Georg Pietzsch, Maria Rudolph

1581

11.01. Blasius Ludwig, Margaretha Scholz

1596

20.10. Donat Schulz, Anna Sorman

1613

28.04. Christoph Ludwig, Martha Fehrmann

05.05. Georg Pitsch, Barbara Schulz

1628

26.11. Georg, Mathes Frantz, Barbara, Donat Schulz

1629

Feb. Peter Ehliger, Margaretha, Blasius Hoyer

1618

23.09. Barthel, Georg Pfirschner, Maria, Georg Ranisch

1610

07.02. Nicol, Martin Müller, Anna, Christoph Pitsch

1638

04.02. Merten, Nickel Müller, Barbara, Michel Fehrmann

1640

06.07. Peter, Christoph Keulig, Barbara Laux Menzel

1617

Nov. Caspar, Lorenz Borisch, Anna, Jacob Scheermeßer

1635

19.04. Hans Tegel, Anna, Georg Leschge

Juni Donat, Jacob Patz, Maria, Jacob Köhler

1634

Feb. Hans Maul, Maria, Georg Landman

1590

04.02. Blasius Merbitz, Margaethe

1579

28.10. Wenzel Franz, Margaretha, Lorenz Winckler

1592

15.11. Paul Winckler, Thomas Winckler, Anna, Georg Fickler

1626

15.11. Andreß, Paul Winckler, Barbara, Blaß Ludwig

1644

06.03. Georg, Hans Zscheile, Martha, Merten Adam

1591

Nov. Hans Ehlig, Anna, Barthel Franz

1619

25.05. Peter Ehliger, Hans Ehliger, Katharina, George Zscheile

1616

27.11. Christoph, Wenzel Franz, Martha, Max Leuderitz

1645

Nov. Georg, Peter Glatwitz, Barbara, Christoph Franz

1619

Jan. Valtin Hertel, Widwer, Christina, Georg Palitzsch

1592

19.01. Wenzel Fermann, Catarina, ... Merwitz

1623

August Jacob, Peter Dieze, Maria, Wenzel Fehrmann

1586

20.04. Merten Mahn, Georg Sorman, Maria

1580

19.10. Georg Forman, Margarethe, Brosius Pazsch

1614

20.02. Georg, Georg Landman, Martha, Merten Klügel, Witwe

1580

14.12. Jeremias Fickler, Maria, Max Finger

1601

21.10. Jeremias Fickler, Catarina, Donat Rauchfuß

1606

07.05. Michael Fehrman, Martin Fehrman, Anna, Martin Andrie

1622

06.11. Georg, Gregor Faust, Maria, Hans Fehrmann

1639

10.02. Jacob, Jeremias Fickler, Maria, Michael Fehrmann

1646

25.11. Hans, Georg Faust, Anna, Martin Mahn

1667

20.11. Jacob, Peter Schützig, Maria, Jacob Hermann

1632

18.06. Jacob Herman, Martha Wustlich

1626

24.01. Andreas Kirsten, Lorentz Kirsten zu Lampersdorf und Jungfrau Dorothea, Peter Weisener

1606

19.02. Georg Günther, Barbara Tachsel

1636

23.11. Martin Günther, Maria Pförsner

1667

27.11. Georg Günther, Maria Mentzel

1694

28.02. Georg Günther, Georg Günther, Christiane, Jacob Schützig

1653

23.02. Georg Graupitz, Anna Schimbrig

1670

16.11. Georg Schimbrig, Catharina, Martin Pietzsch

1628

26.02. Martin Wend, Maria Pietzsch

1695

05.06. Michael Wend, Maria, Geog Schimbrig

1718

23.11. Christian Wend, Maria Günther

1743

24.01. Georg Dachsel, Elisabeth Pietzsch

06.02. Michael Dachsel, Rosina Wend

1780

06.04. Johann Gottlob Dachsel, Michael Dachsel, Anna Regina, Johan Richter

1741

23.11. Christian Hörig, Christian Hörig, Eva Rosina, Georg Groß

1764

23.02. Johann Gottlob Hörig, Christian Hörig, Anna Rosina, Johan Gast

1792

29.11. Johann Gottlieb Eulitz, Johann Eulitz, Anna Rosina Hörig, Gottlob Hörig

1815

25.06. Johann Christian Fuhrmann, Johanna Rosina Eulitz

1841

27.06. Carl Gottlob Hiekel, Carl Friedrich Hiekel, Johanne Christiane Gottleuber

1601

14.01. Lucas Mentzel, Maria, Christoff Wagner

1595

01.10. Christoff Keulig, Burkhard, Dorothea, Bartel Krusche

1662

22.04. Andreas Kirsten, ... Kirsten, Anna, Hans Kuhn

1555

22.01. Blasius Hoyer, Eufemia, Ambrosi Donat

1600

17.12. Blasius ..., Martha, Bartolomes ...

1587

21.10. Mahten Adam, Elisabeth, Brosius Vogel

1586

23.11. Burchard Vogel, Gerdraute, Mathias Molh

1613

05.03. Nicol Adam, Magdalena, Burkhard Vogel

1619

30.06. Martin, Martin Adam, Magdalena, Nicol Adam, Wittwe

1725

28.11. Martin Pietzsch, Georg Pietzsch, Elisabeth, Andreas Winckler

1718

08.02. Andreas Gießmann, Andreas Gießmann, Barbara, Johann Schultze, Wittwe

1713

01.06. Johann Schultze, Johann Schultze, Barabara, Johann Faust, Wittwe

1758

04.09. Benjamin Heinrich Klotzsche, Wittwer und Rosina, Georg Fickler

1568

10.11. Lucas Wiesener, Ursula, Georg Schubart

1587

15.11. Gregor Wustlich zum Sora und Jungfrau Ursula, hinderlaßene Tochter Georg Preisler ... von Sachsendorf

1608

26.10. Peter Weisener und Ursula, hinderlaßene Widwe von Gregor Wustlich

1740

09.01. Benjamin Heinrich Klotzsche, Oberwartha und Anna Maria, David Freund in Boxdorf

1663

02.06. Johann Berner, Martin Berner Maria, Andreas Kießling => Die Ehefrau heißt eigentlich Martha

Cousins, S. (2020). 2·5 million more child marriages due to COVID-19 pandemic. The Lancet, 396(10257), 1059. https://doi.org/10.1016/S0140-6736(20)32112-7

the Guardian. ‘Pandemic Forcing Girls in South-East Asia and Pacific out of School and into Marriage – Study’, 15 March 2021. http://www.theguardian.com/world/2021/mar/16/pandemic-forcing-girls-in-south-east-asia-and-pacific-out-of-school-and-into-marriage-study.

The phrasing of "win" here is super interesting because to me it doesn't seem like a situation where one can "win." Even if she convinces him to marry her daughter, her daughter's innocence is still lost, and now she's trapped in a marriage with a man almost twice her age. Does she mean that she'll do the best with this unfortunate situation she's been given, or is this truly a "win" for her? Notably the she here is slightly ambiguous, does Mrs. Mooney win, her daughter win, both, or neither?

Does anyone have a positive view on marriage in this novel? I mean this screams nice guy energy.

That sense is accurate, not inflated. Having a white knight defending your right to social dominance within a relationship is female privilege. Her husband will be duly, bitterly, reminded of his subhuman status till the end of his days.

Gale, W. G., Gelfond, H., Fichtner, J. J., & Harris, B. H. (2020). The Wealth of Generations, With Special Attention to the Millennials (Working Paper No. 27123; Working Paper Series). National Bureau of Economic Research. https://doi.org/10.3386/w27123

Fetters, A. (2020, May 18). The Pandemic’s Long-Lasting Effects on Weddings. The Atlantic. https://www.theatlantic.com/family/archive/2020/05/coronavirus-could-change-weddings-years-come/611716/

Hickey, M., Chen, D., & Douglas, R. L. (n.d.). What Does Covid-19 Mean for Cities (and Marriages)? (Ep. 410). Freakonomics. Retrieved April 24, 2020, from https://freakonomics.com/podcast/covid-19-cities/

Circadian rhythm as a way to validate a great marriage

In 1831 Shelley makes one of the most controversial revisions of the 1818 edition. In the 1818, Elizabeth is a blood relation--Victor's first cousin--since she is the daughter of his father's brother. In the 1831 edition, Elizabeth is instead "discovered" by Caroline. Caroline notices a comely blonde girl "of a different stock" among the dark-eyed, Italian "vagrants." When Caroline learns that Elizabeth is the daughter of a Milanese nobleman and a German woman she decides that Elizabeth and Victor should someday marry. Thus the potential implication of incest in 1818, when Victor eventually weds his cousin, is erased in 1831.

See, for instance:

Ketterer, David "Thematic Anatomy: Intrinsic Structures" in Frankenstein: Bloom's Major Literary Characters, ed. Harold Bloom (Philadelphia: Chelsea House, 2004), 33-54; Richardson, Alan "Rethinking Romantic Incest: Human Universals, Literary Representation, and the Biology of Mind." New Literary History 31, no.3 (2000): 553-572; Twitchell, James B. Forbidden Partners: The Incest Taboo in Modern Culture (New York: Columbia UP, 1987).

Hall tells his sister that it is her duty to make her husband pious

Hall assumes his sister is happy because she has family now

Greene leaves it up to Sproat to decide if the womyn from his hometown should be his missionary wife

Hall wants Sproat to get married

The Sioux say they will kill the first white man's wife they find, and Boutwell seems to be confused as to why his wife is uneasy

"Mixed blood" by Catholic fur traders intermarrying with Natives

So Catholics exert much influence on the Natives, because any children born in these marriages is baptized a Catholic at birth

This is important enough that another womyn noted it, and then decided to write it in her diary (the married womyn is Mrs. Copway

"systematic domination of women by men" the beside statement is varies according to person to person, that is the right each one but according to my perspective the idea is wrong because after a long period of time each girl will feel some loneliness. This isolation can be avoided if you have some to care you. No women in the could be independent but they can live independently only a certain period after they miss something in their life. Everyone will leave you but the one who love you will stick with your downs and ups. Your parents will pass you but your husband be with you until something has happen. Below you have five important benefits.

Ahhh...so THIS is why we stay married!

Seymour is unaffective among the Ojibwe because he is unmarried (want to get married because of his "sense of duty"), but he feels that marrying an Ojibwe women would ruin his reputation

In order to overcome suspicions of a mistress, Boutwell marries Hester Crooks

Boutwell's wife is an Ojibwe woman

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.