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Read through the most famous quotes by topic #austen
STEVE CARELL IS NICE BUT IT IS SCARY It has been said many times, but it is true: Steve Carell is a very nice guy. His niceness manifests itself mostly in the fact that he never complains. You could screw up a handful of takes outside in 104-degree smog-choked Panorama City heat, and Steve Carell’s final words before collapsing of heat stroke would be a friendly and hopeful “Hey, you think you have that shot yet?” I’ve always found Steve gentlemanly and private, like a Jane Austen character. The one notable thing about Steve’s niceness is that he is also very smart, and that kind of niceness has always made me nervous. When smart people are nice, it’s always terrifying, because I know they’re taking in everything and thinking all kinds of smart and potentially judgmental things. Steve could never be as funny as he is, or as darkly observational an actor, without having an extremely acute sense of human flaws. As a result, I’m always trying to impress him, in the hope that he’ll go home and tell his wife, Nancy, “Mindy was so funny and cool on set today. She just gets it.” Getting Steve to talk shit was one of the most difficult seven-year challenges, but I was determined to do it. A circle of actors could be in a fun, excoriating conversation about, say, Dominique Strauss-Kahn, and you’d shoot Steve an encouraging look that said, “Hey, come over here; we’ve made a space for you! We’re trashing Dominique Strauss-Kahn to build cast rapport!” and the best he might offer is “Wow. If all they say about him is true, that is nuts,” and then politely excuse himself to go to his trailer. That’s it. That’s all you’d get. Can you believe that? He just would not engage. That is some willpower there. I, on the other hand, hear someone briefly mentioning Rainn, and I’ll immediately launch into “Oh my god, Rainn’s so horrible.” But Carell is just one of those infuriating, classy Jane Austen guys. Later I would privately theorize that he never involved himself in gossip because—and I am 99 percent sure of this—he is secretly Perez Hilton. ↗
Eudora Welty singles out for praise Austen's "habit of seeing both sides of her own subject - of seeing it indeed in the round". ... Both men and women can be vain about their appearances, selfish about money, overawed by rank, and limited by parochialism; both men and women can function capably, think profoundly, feel deeply, create imaginatively, laugh wittily, and love faithfully. Without vindicating the rights of anyone directly, Austen posits a humanism far ahead of her time. "How really modern she is, after all," Welty concludes of Austen. ↗
I am determined that only the deepest love will induce me into matrimony. So... I shall end an old maid, and teach your ten children to embroider cushions and play their instruments very ill. ↗
Every young lady may feel for my heroine in this critical moment, for every young lady has at some time or other known the same agitation. All have been, or at least all have believed themselves to be, in danger from the pursuit of some one they wished to avoid; and all have been anxious for the attentions of someone they wished to please. ↗
What on earth did you say to Isola? She stopped in on her way to pick up Pride and Prejudice and to berate me for never telling her about Elizabeth Bennet and Mr. Darcy. Why hadn't she known there were better love stories around? Stories not riddled with ill-adjusted men, anguish, death and graveyards! ↗
#leading-men #literature #pride-and-prejudice #romance #death
... [In 'Pride and Prejudice'] Mr Collins's repulsiveness in his letter [about Lydia's elopement] does not exist only at the level of the sentence: it permeates all aspects of his rhetoric. Austen's point is that the well-formed sentence belongs to a self-enclosed mind, incapable of sympathetic connections with others and eager to inflict as much pain as is compatible with a thin veneer of politeness. Whereas Blair judged the Addisonian sentence as a completely autonomous unit, Austen judges the sentence as the product of a pre-existing moral agent. What counts is the sentence's ability to reveal that agent, not to enshrine a free-standing morsel of truth. Mr Darcy's letter to Elizabeth, in contrast, features a quite different practice of the sentence, including an odd form of punctation ... The dashes in Mr Darcy's letter transform the typographical sentence by physically making each sentence continuous with the next one. ... The dashes insist that each sentence is not self-sufficient but belongs to a larger macrostructure. Most of Mr Darcy's justification consists not of organised arguments like those of Mr Collins but of narrative. ... The letter's totality exists not in the typographical sentence but in the described event. ↗
Peter was now standing very close - as if he wanted to comfort me - as if he knew how hurt I felt that Mrs Knowles had not asked me to play or to sing. And I did feel comforted. It was as if a tide of warmth was carrying me out of myself, inclining me to trust him and to conduct myself well. ↗
#jennifer-paynter #love #loyalty #mary-bennet #peter-bushell
