I purchased the Oxford World's Classics paperback version of this novel, and I noticed that, unlike this online version, Austen does an interesting thing with certain words and vocabulary: she capitalizes certain words, such as Esteem and Happiness in this case. Though I am aware this is not present within the online version, I still wanted to bring it up and interpret the linguistic aspect of the writing. Austen does this throughout all of Lady Susan, particularly with words and phrases used to describe emotion, descriptive words, and unofficial titles such as Enemies or Children. I find this particularly interesting. Though I am unfamiliar if this writing technique is common in the 18th century, I assume it acts as a means to emphasize certain aspects of the story and give more importance to what Austen wants the reader to focus on. Though grammatically incorrect in today's standards, I will say it made a text that would otherwise have been more difficult for me to read much more accessible and easily interpreted.

Lady Susan is an absolutely intriguing character, albeit heavily dislikeable to me personally. That being said, she's spectacularly written; the characterization within this passage alone is outstanding! It goes without saying that Susan does not like being played with, and that is exactly what is being described here. She already has a large amount of unwarranted distaste for her own daughter, of which she convinced Reginald to believe, and is now infuriated by the mere thought of her daughter going behind her back and, in her head, twisting what she has convinced Reginald of. In short, she does not like being made out to be the bad guy. Though a very heated letter, I did sense some interesting contesting feelings towards her daughter, Frederica. Though Susan's dislike of her child is palpable, there seems to still be a sense of caring. After all, she is knowledgeable enough to realize Frederica is romantically pursuing Reginald, but Susan is angered by Reginald toying with this likely one-sided romantic interest from her daughter. It is an incredibly interesting family dynamic between mother and daughter, especially with Reginald involved.

The entire passage on page 360 is, truly, a little funny. He is absolutely fangirling! After talking extensively about how fiction authors go wrong by making the events in their novels literally unbelievable, with some scenes not having any relevance to the overarching plot or meaning of the story, he then turns the writing around to show his seemingly perfect example of what he's been criticizing this entire time. He claims Austin was a professional at her craft, especially in the field of keeping only the most relevant parts of a story that ultimately serve the whole, overarching plot. This is fascinating to me, especially during this time period, as it was not very common for women to be such widely acclaimed and praised authors. In a historical context, Whatley's review and utter praise of Austin strikes me as rather progressive.

Page 353 going into 354 speaks beautifully about how fiction, especially during this time of British instability and turmoil regarding the New World Colonies in the west, is an escape into a false reality, one that is believable and truly capable of being real but still fantastical enough to provide a sense of exploration within a novel. Whatley speaks on the desires of men, particularly those of romantic desires, are very possibly able to be obtained, and that a man must simply wait, because "all will be sure to come right at last." He is reassuring the readers that the "end" of a person's novelish life will be that of satisfaction.