Manual Women Who Did: Stories by Men and Women, 1890-1914 (Penguin Classics)

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    Free delivery in Phnom Penh. Safe shopping. With Fado Publisher Penguin Classics. Publication date February 28, Language English. Product Dimensions 0. Shipping Weight 9. Book length ISBN Best Sellers Rank She has published widely on nineteenth-century fiction and is the author of N OUP, She is also co-editor of and in Palgrave, She writes regularly for the TLS, has written a number of entries for the New Dictionary of National Biography , and reviews for the leading international journals in nineteenth-century studies, including and the.

    View more. Customer care. Full name:. Retype password:. Register a shipping account. This list of female accomplishments studying abroad, writing an Italian hand, learning French and the piano presents female education as a source of alienation rather than personal development. A key element of male education was the learning of Latin, a language which is both spatially and temporally remote. But Beth learnt a good deal from her young men that summer — learnt her own power, for one thing, when she found that she could twist the whole lot of them round her little finger if she chose.

    The thing about them that interested her most, however, was their point of view. She found one trait common to all of them when they talked to her, and that was a certain assumption of superiority which impressed her very much at first, so that she was prepared to accept their opinions as confidently as they gave them; and they always had one ready to give on no matter what subject.

    Beth, perceiving that this superiority was not innate, tried to discover how it was acquired that she might cultivate it. Verbs and declensions came easily enough to her, however. The construction of the language was puzzling at the outset; but, with a little help, she soon discovered that even in that there was nothing occult. Any industrious, persevering person could learn a language, she decided […]. Although Beth imitates male education by teaching herself this language, she makes a subversive use of it since it teaches her to relativize male superiority rather than to admire the Latin original sources to which she now has access.

    Latin is cultural capital that confers power on those who can understand it, but it empowers Beth by teaching her how it excludes non-speakers. Aunt Grace Mary is presented as embroiled in a disempowering cultural turmoil which gives her an alienated relationship to culture and to herself. At the other extreme, women have to censor themselves because the use of bad language is an index of low moral standards.

    I suppose because they have all the bad thoughts, and do all the bad things.

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    She suddenly finds a cause for herself. The mysterious subject matter of her book and of her speeches can be inferred by the causes for complaint which her married life gives her. She marries a worthless philanderer, who opens her letters, takes money from her and turns out to be the keeper of a lock-hospital. This stage of her literary education consists in mimesis. As she read of those who had gone before, she felt a strange kindred with them […].

    Under the influence of nourishing books, her mind, sustained and stimulated, became nervously active. It had a trick of flashing off from the subject she was studying to something wholly irrelevant. In those days her mind was continually under the influence of any author she cared about, particularly if his style were mannered. Involuntarily, while she was reading Macaulay, for instance, her own thoughts took a dogmatic turn, and jerked along in short, sharp sentences. She caught the peculiarities of De Quincey too, of Carlyle, and also some of the simple dignity of Ruskin, which was not so easy; and she had written things after the manner of each of these authors before she perceived the effect they were having upon her.

    Her English became turgid with Latinities. She took phrases which had flowed from her pen, and were telling in their simple eloquence, and toiled at them, turning and twisting them until she had laboured all the life out of them; and then, mistaking effort for power, and having wearied herself, she was satisfied. Being too diffident to suspect that she had any natural faculty, she conceived that the more trouble she gave herself the better must be the result; and consequently she did nothing worth the doing except as an exercise of ingenuity.

    She was serving her apprenticeship, however — making her mistakes. Instead of appropriating English for her own use, she is being appropriated by Macaulay and De Quincey.

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    By giving Angelica a twin brother, Diavolo, Sarah Grand was able to demonstrate the equality of the sexes and to contrast the cultural strategies used by boys and girls. Angelica also experiences patriarchal culture as an existential hindrance. It is a perfect nuisance to have to think in inverted commas all the time.

    And Shakespeare is the greatest bore of all. The whole of life could be set to his expressions — that cannot be quite right; what I mean is the whole of life could be expressed in his words. Diavolo and I tried once to talk Shakespeare for a whole day. I made the game. But it was in these days, nevertheless, that she began to write with decision. She had come back from Ilverthorpe with a burning idea to be expressed, and it was for the shortest, crispest, clearest way to express it that she tried. Foreign phrases she discarded, and she never attempted to produce an eccentric effect by galvanising obsolete words, rightly discarded for lack of vitality, into a ghastly semblance of life.

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    Her own language, strong and pure, she found a sufficient instrument for her purpose. When the true impulse to write came, her fine theories about style only hampered her, so she cast them aside, as habitual affectations are cast aside and natural emotions naturally expressed, in moments of deep feeling; and from that time forward she displayed, what had doubtless been coming to her by practice all along, a method and a manner of her own. Style has an ethical dimension: authors of genius have no special writing skills, for their style is the reflection of their character.

    Beth does not try to coin a new language, for her moral worth and the nobility of her political commitments will give shape to her ideas.

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    Grand does not attempt the risky task of giving a sample of either her writing or her public speaking in her novel, for that would require her own novel to be a work of genius. The following exchange between Beth and her sweetheart Sammy, to whom she recites her improvised poems, is typical:. Sammy listened with his mouth and eyes open, but when she had done he shook his head.