By P. Menon
This lucid and tightly-argued learn makes use of the motif of the mentor-lover - embodying diversified diversifications of sexual love, strength and judgement - to discover, overview and evaluate the works of Jane Austen, Charlotte Brontë and George Eliot as they cope with problems with sexuality, relatives, selfhood, freedom, behavior and gender. The determine additionally offers a way to probe their courting to the reader as they develop into mentor-lovers via authorship, each one eliciting a unique type of love and electing a distinct variety of guideline.
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Additional info for Austen, Eliot, Charlotte Bronte & The Mentor-Lover
No, indeed” later, at the ball (331), marks his recognition of his completed passage from father to lover, but this discovery has been long anticipated by the reader. Austen handles Emma’s progress with equal confidence through scenes suggesting the lover rather than the daughter: her ability to remember exactly where Mr Knightley stood on the occasion (months before) of Mr Elton’s cutting himself (339–40); the handshake of reconciliation as the two play with their baby niece, a scene suggestive of their shared future as parents (98–9); Emma’s perception of him as out of place with the older men at the ball (325–6); her regret that he fails to kiss her hand after her visit of apology to Miss Bates (386); and, finally, the realization, with the force of a physical sensation, that “darted through her, with the speed of an arrow, that Mr.
Jill Heydt-Stevenson elucidates the riddle’s references to prostitution and venereal disease and John Dussinger sees Mr Woodhouse’s reference to the riddle as revelatory of his “dire fears about sexual union as death” (167), suggesting an amnesia that Freud might have identified. It is even possible that Emma’s father may simply be repeating lines that he once overheard but never understood. Like Fanny’s enquiry about the slave trade, this is a reference more provocative than conclusive and one that raises even more questions about Austen’s motives than about those of the speaker.
The attractive but forced symmetry of the lovers coming together through mutual learning and teaching is an appealing testament to her preference for moral equality in her lovers, but it is also a betrayal of her initial interest in the problem of what happens when love and the judgment of the loved one do not fit as easily together as they did in Northanger Abbey. This was, however, a problem that she would tackle again. Despite Austen’s interest in the connection between the moral and sexual lives of parents and their children, she had not explored the long-popular subject of love between a young woman and a father surrogate until she wrote Emma.
Austen, Eliot, Charlotte Bronte & The Mentor-Lover by P. Menon