Podcasts about Sensibility

Radio 4 celebrates 250 years of Jane Austen with fresh, funny, and female-focused adaptations of Pride and Prejudice and Sense and Sensibility. Expect heartbreak, love, hilarity, and the enduring power of sisterhood.Pride and Prejudice the iconic love story between Miss Elizabeth Bennet and Mr Fitzwilliam Darcy, and a delightful portrayal of a family. It perfectly conjures up the period, and the pressure on women to find husbands. A tapestry of unforgettable characters and wonderfully funny.Dramatised by award winning writer Rachel JoyceJane Austen ..... Tamsin Greig Elizabeth ..... Isabella Laughland Darcy ..... Luke Thompson Mr Bennet ..... Miles Jupp Mrs Bennet ..... Rosie Cavaliero Jane ..... Lucy Doyle Bingley ..... Louis Landau Wickham ..... Toby Regbo Lady Catherine ..... Adjoa Andoh Lydia ..... Kitty O'Sullivan Kitty ..... Gaia Wise Mary ..... Imogen Front Mr Collins ..... Josh Bryant Jones Charlotte ..... Sasha McCabe Caroline Bingley ..... Catherine BaileyDirected by Tracey NealeDramatised by Rachel JoyceRachel Joyce is a best-selling author and award winning audio drama writer. Her audio work includes the entire Bronte canon for Radio 4. Her first novel, The Unlikely Pilgrimage of Harold Fry has been adapted for both film and stage. The sold out Chichester Festival Theatre Musical of Harold Fry's story opens at the Theatre Royal Haymarket on the 29th January. Rachel's latest novel, The Homemade God, was published in February this year.Produced and Directed by Tracey Neale Sound by Andrew Garratt and Sam Dickinson Production Co-Ordinator, Luke MacGregor Casting Manager, Alex Curran A BBC Studios Production.

Our next installment in the Book Case Classics series comes from listeners like you.  Many of you asked for Austen…you wanted it?  You got it!  We sat down with two of the world's foremost Austen Scholars, Claudia L. Johnson, Murray Professor of English at Princeton and Devoney Looser, Regents Professor at Arizona State University (both of which have great Austen books on the market) to discuss the facts and fiction surround the great Jane Austen and her unique works.  Join us! Find books mentioned on The Book Case: https://www.goodmorningamerica.com/shop/story/book-case-podcast-reading-list-118433302 Books mentioned in this week's episode: Pride and Prejudice by Jane Austen Sense and Sensibility by Jane Austen Mansfield Park by Jane Austen Emma by Jane Austen Northanger Abbey by Jane Austen Persuasion by Jane Austen 30 Great Myths about Jane Austen by Claudia L. Johnson Jane Austen: Women, Politics and the Novel by Claudia L. Johnson Wild for Austen: A Rebellious, Subversive, and Untamed Jane by Devoney Looser Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sense and Sensibility by Jane Austen chapter 21, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:The following day, when the Palmers have finally left them, and Elanor feels that she can finally relax, Sir John and Mrs. Jennings have found 2 more guests to keep everyone occupied. The Miss Steele's are apparently some relations of Mrs Jennings, and everyone is thus forced to be very welcoming. The girls however appear to be fantastic guests, doting dutifully on the Middleton children. When the Dashwood's arrive at the Park, they note that the youngest of the Steele's, Lucy, is very pretty, and that the eldest, seems very noble. One of the Middleton children gets hurt, and Lady Middleton takes her children away to calm them and leaves the Steeles and the Dashwoods alone. The Steeles go to compliment the Middleton family, and Marianne calls upon Elanor to play along, as Marianne is certain that she cannot lie. The eldest Steele girl seems to be very direct, and her sister, Lucy tries to cover up her sister's mistakes in politeness. The eldest Steele girl talks about the lack of beautiful men in the area, and the Dashwoods are very put off by this talk. The Steele's seem to want to get better acquainted with the Dashwoods, to the Dashwoods' dislike…The Steele's talk of Marianne's engagement to Willoughby, and it comes out that Sir John had mentioned the relationship between Edward Ferrars and Elanor. While initially vexed, when she finds out that the Steele's know Edward, Elanor tries to find out what they know about it. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Jane Austen was born in the 16th of December, 1775, which means this month marks her 250th birthday. Jane lived a quiet, mostly happy life in the English countryside, surrounded by the balls, romantic intrigues and family dramas that fill her novels. Her writing was always her true passion. She glimpsed success, with 4 books becoming wildly popular in her lifetime. But she died tragically young, depriving the world of her talent. Her stories have been adapted and re imagined countless times. And in this, Jane's 250th year, she continues to be a mainstay in pop culture. But let's look past the endearing characters and timeless stories, and met the woman holding the quill. Let's get to know Jane Austen... Sense and Sensibility (1811) Pride and Prejudice (1813) Mansfield Park (1814) Emma (1816) Northanger Abbey (1818, posthumous) Persuasion (1818, posthumous) Lady Susan (1871, posthumous) Join me every Tuesday when I'm Spilling the Tea on History! Check out my Youtube Channel: https://www.youtube.com/c/lindsayholiday Follow me on Facebook: https://www.facebook.com/profile.php?id=100091781568503 Instagram: https://www.instagram.com/historyteatimelindsayholiday/ Tik Tok: https://www.tiktok.com/@historyteatime Please consider supporting me at https://www.patreon.com/LindsayHoliday and help me make more fascinating episodes! Intro Music: Baroque Coffee House by Doug Maxwell Music: Butterflies in love by Sir Cubworth #HistoryTeaTime #LindsayHoliday Please contact ⁠⁠advertising@airwavemedia.com⁠⁠ if you would like to advertise on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The award-winning actress Emma Thompson takes questions on Sense and Sensibility in this special episode of Bookclub to mark the 250th anniversary of Jane Austen's birth. Sense and Sensibility was Jane Austen's first novel published in 1811 when she was thirty-five years old. The book follows the Dashwood sisters as they navigate their way through love and and threat of its loss. Marianne Dashwood wears her heart on her sleeve, and when she falls in love with the dashing but unsuitable John Willoughby she ignores her sister Elinor's warning that her impulsive behaviour leaves her open to gossip and innuendo. Meanwhile Elinor, always sensitive to social convention, is struggling to conceal her own romantic disappointment. Emma Thompson won an Oscar for her screen adaptation of the 1995 film, of the same name, in which she played Elinor Dashwood. The film also starred Kate Winslet as Marianne Dashwood, Hugh Grant as Edward Ferrars, Alan Rickman as Colonel Brandon, and Greg Wise as John Willoughby. This episode was recorded at Broadcasting House, London, in August.Producer: Dominic Howell Editor: Gillian Wheelan This was a BBC Audio Scotland production.

2025 marks 250 years since the birth of Jane Austen, the English writer whose finely tuned observations of Regency life shaped the modern novel. But perhaps more notably for Screenshot, it's also 30 years since Colin Firth walked out of a lake and straight into the nation's hearts, in the BBC's Pride and Prejudice miniseries.Three decades on from the ‘Austenmania' of 1995, Ellen E Jones and Mark Kermode explore Jane Austen adaptations past and present. Do screen versions of novels like Emma and Sense and Sensibility offer a cosy retreat from the modern world - or do they still have something to say in the present moment? Mark speaks to film writer and researcher Lillian Crawford about various Austen triumphs and missteps on screen, from numerous incarnations of Emma, to Netflix's recent update on her last novel, Persuasion. He also speaks to playwright Nick Dear about an adaptation many Austen experts consider a high-water mark - the 1995 version of Persuasion, written by Dear and directed by Roger Michell for the BBC's Screen Two strand. Meanwhile, Ellen talks to Amy Heckerling, writer and director of the classic 1995 comedy Clueless, which transplants Austen's novel Emma to a Beverly Hills high school. And she also speaks to writer-director Celine Song, whose recent film Materialists stars Dakota Johnson as a professional matchmaker - and unmistakably bears the influence of Austen. Producer: Jane Long A Prospect Street production for BBC Radio 4

For our special celebration of Jane Austen's 250th birthday, we welcome editors Jenny Davidson (Pride and Prejudice, 2023), Stephanie Insley Hershinow (Sense and Sensibility, 2024; Emma, 2022), and Patricia Matthew (Mansfield Park, 2026). In this extended roundtable episode, the editors discuss their personal favorites among Austen's books (and where to start as an Austen beginner), the differences between modern adaptations and Austen's original writing, and Austen's enduring legacy in the twenty-first century. Jenny Davidson is Professor of English and comparative literature at Columbia University. She has published four books of literary criticism, four novels, several other editions, and numerous articles and essays. She is currently at work on two book projects: a handbook on career pathways for humanities doctoral students and an intellectually wide-ranging and highly personal account of what it means to read Edward Gibbon's History of the Decline and Fall of the Roman Empire (originally published between 1776 and 1789) from the vantage point of the twenty-first century.Stephanie Insley Hershinow is an associate professor of English at Baruch College, CUNY, where she specializes in novel theory and eighteenth-century culture. She is the author of Born Yesterday: Inexperience and the Early Realist Novel. She lives with her family in Jersey City, New Jersey.Patricia A. Matthew is Associate Professor of English at Montclair State Unviersity. She has been published widely and is the editor of Written/Unwritten: Diversity and the Hidden Truths of Tenure (2016). She is the co-editor of the Oxford University Press series Race in Nineteenth-Century Literature and Culture. To learn more or purchase copies of the Norton Library editions of Jane Austen's books, go to https://wwnorton.com/. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter at @TNL_WWN and Bluesky at @nortonlibrary.bsky.social. 

Mars heads into Capricorn, its exalted position, this Monday, December 15, bringing some sensibility and leadership to the world as we head into 2026. The Sun joins the Capricorn party with the winter solstice on Sunday, December 21. The AstroTwins discuss this week's cosmic shifts through the lens of pop culture, politics and the planets. Book a Reading with The AstroTwinshttps://astrostyle.com/readings2026 Horoscope Guide:https://astrostyle.com/holiday

Sense and Sensibility by Jane Austen chapter 20, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mrs Palmer and the and the Dashwood girls talk again the next day at Barton. Mrs Palmer is very pushy towards the girls, wishing for them to come to the city and visit them. Mr Palmer is as gloomy and miserable as usual. Sir John pokes fun at Marianne for her love of Willoughby, and Mrs Palmer adds that Willoughby does not live too far from them, and invites them to visit them at they home as well as London. Mr Palmer calls out Mrs. Jennings, and Sir John for being what “ill-bred” for not wanting to abide by social rules. He, according to the girls, believe that he wishes to appear superior to everyone else. His wife also reveals that her husband is running for parliament, and as Willoughby is a member of the opposition, Mr Palmer probably wouldn't visit him. Apparently everyone is London is talking about the engagement of Marianne and Willoughby. Mrs. Palmer got the information from Colonel Brandon. Elanor tries to skirt around the subject of Marianne's relationship with Willoughby and tries to get more information about the Colonel. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

(01:39) Volgens de Amerikaanse minister van Buitenlandse Zaken, Marco Rubio, is het lettertype Calibri te divers en onprofessioneel, het ministerie stopt met het gebruik ervan. Wat vindt de ontwerper van Calibri daarvan? We vragen het aan hemzelf: letterontwerper Lucas de Groot.   (09:07) De column van Nelleke Noordervliet.   (12:20) 250 jaar geleden werd schrijfster Jane Austen geboren. Ze is bekend van haar realistische romans over de Engelse landadel in de 18e en 19e eeuw, zoals 'Pride and Prejudice', 'Sense and Sensibility' en 'Emma'. Te gast zijn hoofdredacteur van De Groene Amsterdammer Xandra Schutte, theatermaker Florian Myjer, en Monique Christiaan, president van de Jane Austen Society in Nederland. (52:24) Fresco Sam-Sin recenseert twee boeken en een website:    ‘Suriname in Beeld' - Carl Haarnack, Eveline Sint Nicolaas en Garrelt Verhoeven  ‘In de ban van de jaarring' - Valerie Trouet (vert. Fred Hendriks en Nicole Seegers)  De website fivebooks.com (https://podcast.npo.nl/admin/feed/93/feeditem/fivebooks.com)  (01:04:27) Op een dag hoorde Olga Majeau over een sprookjesachtig kasteel dat had toebehoord aan haar Hongaarse voorouders. Een kasteel boven op een berg, met twee torens en een toegangspoort. En in dat kasteel bevond zich de grootste schat: een immense Renaissance-collectie met werk van kunstenaars die in wereldmusea hangen: Correggio, Bernini, Tiepolo, Rafaël, Brueghel. Het kasteel is inmiddels een hotel, maar de kunstcollectie is verdwenen. Waarom is het kasteel niet meer in de familie? En wat is er met de kunstcollectie gebeurd? Valt er nog iets van terug te vinden?  Olga's zoektocht naar antwoorden blijkt al snel een heus true crime verhaal over internationaal kunstrecht, over duistere belangen, en over de perfide trekjes van de kunsthandel.         Luister naar Zeg Paus, waar is m'n kunst? gemaakt door Olga Majeau en Stef Visjager voor AVROTROS en NPO Luister, en werd mede mogelijk gemaakt door het NPO-fonds. Alle zes afleveringen zijn ook te horen bij ons in OVT. Voor meer informatie, foto's van kunst en kasteel en uitgebreide credits:  https://www.avrotros.nl/zegpaus/    (https://www.avrotros.nl/zegpaus/)     Meer info:  https://www.vpro.nl/ovt/artikelen/ovt-14-december-2025  (https://www.vpro.nl/ovt/artikelen/ovt-14-december-2025)  

Greg Jenner is joined in Regency England by historian Dr Lucy Worsley and actor Sally Phillips to learn all about the life and works of literary legend Jane Austen on the 250th anniversary of her birth in December 1775.It is a truth universally acknowledged that Jane Austen is one of England's best-loved authors, and the creator of such indelible characters as Elizabeth Bennet, Mr Darcy, Emma Woodhouse and Elinor and Marianne Dashwood. Whether you have read one of her six books – Pride and Prejudice, Sense and Sensibility, Persuasion, Emma, Northanger Abbey and Mansfield Park – or seen one of the many adaptations, most of us have some experience with Austen. But her life story and how it influenced her writing is perhaps less well-known. This episode explores her early life as the daughter of a rural clergyman, takes a peek inside the books a teenage Jane was reading, and delves into her romantic and familial relationships to see what shaped Austen into the formidable literary talent she was. And it asks a key question: was Jane Austen, who wrote such wonderful women characters, a feminist?This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Clara Chamberlain and Charlotte Emily Edgeshaw Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Ben Hollands Senior Producer: Emma Nagouse Executive Editor: Philip Sellars

Tuesday is the 250th anniversary of Jane Austen's birth, so today I spoke to John Mullan, professor of English Literature at UCL, author of What Matters in Jane Austen. John and I talked about how Austen's fiction would have developed if she had not died young, the innovations of Persuasion, wealth inequality in Austen, slavery and theatricals in Mansfield Park, as well as Iris Murdoch, A.S. Byatt, Patricia Beer, the Dunciad, and the Booker Prize. This was an excellent episode. My thanks to John!TranscriptHenry Oliver (00:00)Today, I am talking to John Mullen. John is a professor of English literature at University College London, and he is the author of many splendid books, including How Novels Work and the Artful Dickens. I recommend the Artful Dickens to you all. But today we are talking about Jane Austen because it's going to be her birthday in a couple of days. And John wrote What Matters in Jane Austen, which is another book I recommend to you all. John, welcome.John Mullan (00:51)It's great to be here.Henry Oliver (00:53)What do you think would have happened to Austin's fiction if she had not died young?John Mullan (00:58)Ha ha! I've been waiting all this year to be asked that question from somebody truly perspicacious. ⁓ Because it's a question I often answer even though I'm not asked it, because it's a very interesting one, I think. And also, I think it's a bit, it's answerable a little bit because there was a certain trajectory to her career. I think it's very difficult to imagine what she would have written.John Mullan (01:28)But I think there are two things which are almost certain. The first is that she would have gone on writing and that she would have written a deal more novels. And then even the possibility that there has been in the past of her being overlooked or neglected would have been closed. ⁓ And secondly, and perhaps more significantly for her, I think she would have become well known.in her own lifetime. you know, partly that's because she was already being outed, as it were, you know, of course, as ⁓ you'll know, Henry, you know, she published all the novels that were published in her lifetime were published anonymously. So even people who were who were following her career and who bought a novel like Mansfield Park, which said on the title page by the author of Sense and Sensibility and Pride and Prejudice, they knew they knew.John Mullan (02:26)were getting something by the same author, they wouldn't necessarily have known the author's name and I think that would have become, as it did with other authors who began anonymously, that would have disappeared and she would have become something of a literary celebrity I would suggest and then she would have met other authors and she'd have been invited to some London literary parties in effect and I think that would have been very interesting how that might have changed her writing.John Mullan (02:54)if it would have changed her writing as well as her life. She, like everybody else, would have met Coleridge. ⁓ I think that would have happened. She would have become a name in her own lifetime and that would have meant that her partial disappearance, I think, from sort of public consciousness in the 19th century wouldn't have happened.Henry Oliver (03:17)It's interesting to think, you know, if she had been, depending on how old she would have been, could she have read the Pickwick papers? How would she have reacted to that? Yes. Yeah. Nope.John Mullan (03:24)Ha ha ha ha ha!Yes, she would have been in her 60s, but that's not so old, speaking of somebody in their 60s. ⁓ Yes, it's a very interesting notion, isn't it? I mean, there would have been other things which happened after her premature demise, which she might have responded to. I think particularly there was a terrific fashion for before Dickens came along in the 1830s, there was a terrific fashion in the 1820s for what were called silver fork novels, which were novels of sort of high life of kind of the kind of people who knew Byron, but I mean as fictional characters. And we don't read them anymore, but they were they were quite sort of high quality, glossy products and people loved them. And I'm I like to think she might have reacted to that with her sort of with her disdain, think, her witty disdain for all aristocrats. know, nobody with a title is really any good in her novels, are they? And, you know, the nearest you get is Mr. Darcy, who is an Earl's nephew. And that's more of a problem for him than almost anything else. ⁓ She would surely have responded satirically to that fashion.Henry Oliver (04:28)Hahaha.Yes, and then we might have had a Hazlitt essay about her as well, which would have been all these lost gems. Yes. Are there ways in which persuasion was innovative that Emma was not?John Mullan (04:58)Yes, yes, yes, yes. I know, I know.⁓ gosh, all right, you're homing in on the real tricky ones. Okay, okay. ⁓ That Emma was not. Yes, I think so. I think it took, in its method, it took further what she had done in Emma.Henry Oliver (05:14)Ha ha.This is your exam today,John Mullan (05:36)which is that method of kind of we inhabit the consciousness of a character. And I I think of Jane Austen as a writer who is always reacting to her own last novel, as it were. And I think, you know, probably the Beatles were like that or Mozart was like that. think, you know, great artists often are like that, that at a certain stage, if what they're doing is so different from what everybody else has done before,they stop being influenced by anybody else. They just influence themselves. And so I think after Emma, Jane Austen had this extraordinary ⁓ method she perfected in that novel, this free indirect style of a third-person narration, which is filtered through the consciousness of a character who in Emma's case is self-deludedly wrong about almost everything. And it's...brilliantly tricksy and mischievous and elaborate use of that device which tricks even the reader quite often, certainly the first time reader. And then she got to persuasion and I think she is at least doing something new and different with that method which is there's Anne Elliot. Anne Elliot's a good person. Anne Elliot's judgment is very good. She's the most cultured and cultivated of Jane Austen's heroines. She is, as Jane Austen herself said about Anne Elliot, almost too good for me. And so what she does is she gives her a whole new vein of self-deception, which is the self-deception in the way of a good person who always wants to think things are worse than they are and who always, who, because suspicious of their own desires and motives sort of tamps them down and suppresses them. And we live in this extraordinary mind of this character who's often ignored, she's always overhearing conversations. Almost every dialogue in the novel seems to be something Anne overhears rather than takes part in. And the consciousness of a character whodoesn't want to acknowledge things in themselves which you and I might think were quite natural and reasonable and indeed in our psychotherapeutic age to be expressed from the rooftops. You still fancy this guy? Fine! Admit it to yourself. ⁓ No. So it's not repression actually, exactly. It's a sort of virtuous self-control somehow which I think lots of readers find rather masochistic about her. Henry Oliver (08:38)I find that book interesting because in Sense and Sensibility she's sort of opposed self-command with self-expression, but she doesn't do that in Persuasion. She says, no, no, I'm just going to be the courage of, no, self-command. know, Eleanor becomes the heroine.John Mullan (08:48)Yes. Yes, yes, yes, yes, yes, yes. But with the odd with the odd burst of Mariannes, I was watching the I thought execrable Netflix ⁓ persuasion done about two or three years ago ⁓ with the luminous Dakota Johnson as as you know, as Anne Elliot. You could not believe her bloom had faded one little bit, I think.John Mullan (09:23)And ⁓ I don't know if you saw it, but the modus operandi rather following the lead set by that film, The Favourite, which was set in Queen Anne's reign, but adopted the Demotic English of the 21st century. similarly, this adaptation, much influenced by Fleabag, decided to deal with the challenge of Jane Austen's dialogue by simply not using it, you know, and having her speak in a completely contemporary idiom. But there were just one or two lines, very, very few from the novel, that appeared. And when they appeared, they sort of cried through the screen at you. And one of them, slightly to qualify what you've just said, was a line I'd hardly noticed before. as it was one of the few Austin lines in the programme, in the film, I really noticed it. And it was much more Marianne than Eleanor. And that's when, I don't know if you remember, and Captain Wentworth, they're in Bath. So now they are sort of used to talking to each other. And Louisa Musgrove's done her recovering from injury and gone off and got engaged to Captain Benwick, Captain Benwick. So Wentworth's a free man. And Anne is aware, becoming aware that he may be still interested in her. And there's a card party, an evening party arranged by Sir Walter Elliot. And Captain Wentworth is given an invitation, even though they used to disapprove of him because he's now a naval hero and a rich man. And Captain Wentworth and Anna making slightly awkward conversation. And Captain Wentworth says, you did not used to like cards.I mean, he realizes what he said, because what he said is, remember you eight years ago. I remember we didn't have to do cards. We did snogging and music. That's what we did. But anyway, he did not used to like cards. And he suddenly realizes what a giveaway that is. And he says something like, but then time brings many changes. And she says, she cries out, I am not so much changed.Henry Oliver (11:23)Mm. Mm, yes, yes. Yep.Yes.Cries out, yeah.John Mullan (11:50)It's absolutely electric line and that's not Eleanor is it? That's not an Eleanor-ish line. ⁓ Eleanor would say indeed time evinces such dispositions in most extraordinary ways. She would say some Johnsonian thing wouldn't she? so I don't think it's quite a return to the same territory or the same kind of psychology.Henry Oliver (12:05)That's right. Yes, yes, yeah.No, that's interesting, yeah. One of the things that happens in Persuasion is that you get this impressionistic writing. So a bit like Mrs. Elliot talking while she picks strawberries. When Lady Russell comes into Bath, you get that wonderful scene of the noises and the sounds. Is this a sort of step forward in a way? And you can think of Austen as not an evolutionary missing link as such, but she's sort of halfway between Humphrey Clinker and Mr. Jangle.Is that something that she would have sort of developed?John Mullan (12:49)I think that's quite possible. haven't really thought about it before, but you're right. think there are these, ⁓ there are especially, they're impressionistic ⁓ passages which are tied up with Anne's emotions. And there's an absolutely, I think, short, simple, but extraordinarily original one when she meets him again after eight years. And it says something like, the room was full, full of people. Mary said something and you're in the blur of it. He said all that was right, you know, and she can't hear the words, she can't hear the words and you can't hear the words and you're inside and she's even, you're even sort of looking at the floor because she's looking at the floor and in Anne's sort of consciousness, often slightly fevered despite itself, you do exactly get this sort of, ⁓ for want of a better word, blur of impressions, which is entirely unlike, isn't it, Emma's sort of ⁓ drama of inner thought, which is always assertive, argumentative, perhaps self-correcting sometimes, but nothing if not confidently articulate.John Mullan (14:17)And with Anne, it's a blur of stuff. there is a sort of perhaps a kind of inklings of a stream of consciousness method there.Henry Oliver (14:27)I think so, yeah. Why is it that Flaubert and other writers get all the credit for what Jane Austen invented?John Mullan (14:35)Join my campaign, Henry. It is so vexing. It is vexing. sometimes thought, I sometimes have thought, but perhaps this is a little xenophobic of me, that the reason that Jane Austen is too little appreciated and read in France is because then they would have to admit that Flaubertdidn't do it first, you know. ⁓Henry Oliver (14:40)It's vexing, isn't it?John Mullan (15:04)I mean, I suppose there's an answer from literary history, which is simply for various reasons, ⁓ some of them to do with what became fashionable in literary fiction, as we would now call it. Jane Austen was not very widely read or known in the 19th century. So it wasn't as if, as it were, Tolstoy was reading Jane Austen and saying, this is not up to much. He wasn't. He was reading Elizabeth Gaskell.Jane Eyre ⁓ and tons of Dickens, tons, every single word Dickens published, of course. ⁓ So Jane Austen, know, to cite an example I've just referred to, I Charlotte Bronte knew nothing of Jane Austen until George Henry Lewis, George Eliot's partner, who is carrying the torch for Jane Austen, said, you really should read some. And that's why we have her famous letter saying, it's, you know, it's commonplace and foolish things she said. But so I think the first thing to establish is she was really not very widely read. So it wasn't that people were reading it and not getting it. It was which, you know, I think there's a little bit of that with Dickens. He was very widely read and people because of that almost didn't see how innovative he was, how extraordinarily experimental. It was too weird. But they still loved it as comic or melodramatic fiction. But I think Jane Austen simply wasn't very widely read until the late 19th century. So I don't know if Flaubert read her. I would say almost certainly not. Dickens owned a set of Jane Austen, but that was amongst 350 selecting volumes of the select British novelists. Probably he never read Jane Austen. Tolstoy and you know never did, you know I bet Dostoevsky didn't, any number of great writers didn't.Henry Oliver (17:09)I find it hard to believe that Dickens didn't read her.John Mullan (17:12)Well, I don't actually, I'm afraid, because I mean the one occasion that I know of in his surviving correspondence when she's mentioned is after the publication of Little Dorrit when ⁓ his great bosom friend Forster writes to him and says, Flora Finching, that must be Miss Bates. Yes. You must have been thinking of Miss Bates.John Mullan (17:41)And he didn't write it in a sort of, you plagiarist type way, I he was saying you've varied, it's a variation upon that character and Dickens we wrote back and we have his reply absolutely denying this. Unfortunately his denial doesn't make it clear whether he knew who Miss Bates was but hadn't it been influenced or whether he simply didn't know but what he doesn't… It's the one opportunity where he could have said, well, of course I've read Emma, but that's not my sort of thing. ⁓ of course I delight in Miss Bates, but I had no idea of thinking of her when I... He has every opportunity to say something about Jane Austen and he doesn't say anything about her. He just says, no.Henry Oliver (18:29)But doesn't he elsewhere deny having read Jane Eyre? And that's just like, no one believes you, Charles.John Mullan (18:32)Yes.Well, he may deny it, but he also elsewhere admits to it. Yeah.Henry Oliver (18:39)Okay, but you know, just because he doesn't come out with it.John Mullan (18:43)No, no, it's true, but he wouldn't have been singular and not reading Jane Austen. That's what I'm saying. Yes. So it's possible to ignore her innovativeness simply by not having read her. But I do think, I mean, briefly, that there is another thing as well, which is that really until the late 20th century almost, even though she'd become a wide, hugely famous, hugely widely read and staple of sort of A levels and undergraduate courses author, her real, ⁓ her sort of experiments with form were still very rarely acknowledged. And I mean, it was only really, I think in the sort of almost 1980s, really a lot in my working lifetime that people have started saying the kind of thing you were asking about now but hang on free and direct style no forget flow bear forget Henry James I mean they're terrific but actually this woman who never met an accomplished author in her life who had no literary exchanges with fellow writersShe did it at a little table in a house in Hampshire. Just did it.Henry Oliver (20:14)Was she a Tory or an Enlightenment Liberal or something else?John Mullan (20:19)⁓ well I think the likeliest, if I had to pin my colours to a mast, I think she would be a combination of the two things you said. I think she would have been an enlightenment Tory, as it were. So I think there is some evidence that ⁓ perhaps because also I think she was probably quite reasonably devout Anglican. So there is some evidence that… She might have been conservative with a small C, but I think she was also an enlightenment person. I think she and her, especially her father and at least a couple of her brothers, you know, would have sat around reading 18th century texts and having enlightened discussions and clearly they were, you know, and they had, it's perfect, you know, absolutely hard and fast evidence, for instance, that they would have been that they were sympathetic to the abolition of slavery, that they were ⁓ sceptics about the virtues of monarchical power and clear-eyed about its corruption, that they had no, Jane Austen, as I said at the beginning of this exchange, had no great respect or admiration for the aristocratic ruling class at all. ⁓ So there's aspects of her politics which aren't conservative with a big C anyway, but I think enlightened, think, I mean I, you know, I got into all this because I loved her novels, I've almost found out about her family inadvertently because you meet scary J-Night experts at Jane Austen Society of North America conferences and if you don't know about it, they look at scants. But it is all interesting and I think her family were rather terrific actually, her immediate family. I think they were enlightened, bookish, optimistic, optimistic people who didn't sit around moaning about the state of the country or their own, you know, not having been left enough money in exes will. And...I think that they were in the broadest sense enlightened people by the standard of their times and perhaps by any standards.Henry Oliver (22:42)Is Mansfield Park about slavery?John Mullan (22:45)Not at all, no. I don't think so. I don't think so. And I think, you know, the famous little passage, for it is only a passage in which Edmund and Fanny talk about the fact it's not a direct dialogue. They are having a dialogue about the fact that they had, but Fanny had this conversation or attempt at conversation ⁓ a day or two before. And until relatively recently, nobody much commented on that passage. It doesn't mean they didn't read it or understand it, but now I have not had an interview, a conversation, a dialogue involving Mansfield Park in the last, in living memory, which hasn't mentioned it, because it's so apparently responsive to our priorities, our needs and our interests. And there's nothing wrong with that. But I think it's a it's a parenthetic part of the novel. ⁓ And of course, there was this Edward Said article some decades ago, which became very widely known and widely read. And although I think Edward Said, you know, was a was a wonderful writer in many ways. ⁓I think he just completely misunderstands it ⁓ in a way that's rather strange for a literary critic because he says it sort of represents, you know, author's and a whole society's silence about this issue, the source of wealth for these people in provincial England being the enslavement of people the other side of the Atlantic. But of course, Jane Auster didn't have to put that bit in her novel, if she'd wanted really to remain silent, she wouldn't have put it in, would she? And the conversation is one where Edmund says, know, ⁓ you know, my father would have liked you to continue when you were asking about, yeah, and she says, but there was such terrible silence. And she's referring to the other Bertram siblings who indeed are, of course, heedless, selfish ⁓ young people who certainly will not want to know that their affluence is underwritten by, you know, the employment of slaves on a sugar plantation. But the implication, I think, of that passage is very clearly that Fanny would have, the reader of the time would have been expected to infer that Fanny shares the sympathies that Jane Austen, with her admiration, her love, she says, of Thomas Clarkson. The countries leading abolitionists would have had and that Edmund would also share them. And I think Edmund is saying something rather surprising, which I've always sort of wondered about, which is he's saying, my father would have liked to talk about it more. And what does that mean? Does that mean, my father's actually, he's one of these enlightened ones who's kind of, you know, freeing the slaves or does it mean, my father actually knows how to defend his corner? He would have beenYou know, he doesn't he doesn't feel threatened or worried about discussing it. It's not at all clear where Sir Thomas is in this, but I think it's pretty clear where Edmund and Fanny are.Henry Oliver (26:08)How seriously do you take the idea that we are supposed to disapprove of the family theatricals and that young ladies putting on plays at home is immoral?John Mullan (26:31)Well, I would, mean, perhaps I could quote what two students who were discussing exactly this issue said quite some time ago in a class where a seminar was running on Mansfield Park. And one of the students can't remember their names, I'm afraid. I can't remember their identities, so I'm safe to quote them. ⁓ They're now probably running PR companies or commercial solicitors. And one of them I would say a less perceptive student said, why the big deal about the amateur dramatics? I mean, what's Jane Austen's problem? And there was a pause and another student in the room who I would suggest was a bit more of an alpha student said, really, I'm surprised you asked that. I don't think I've ever read a novel in which I've seen characters behaving so badly as this.And I think that's the answer. The answer isn't that the amateur dramatics themselves are sort of wrong, because of course Jane Austen and her family did them. They indulged in them. ⁓ It's that it gives the opportunity, the license for appalling, mean truly appalling behaviour. I mean, Henry Crawford, you know, to cut to the chase on this, Henry Crawford is seducing a woman in front of her fiance and he enjoys it not just because he enjoys seducing women, that's what he does, but because it's in front of him and he gets an extra kick out of it. You know, he has himself after all already said earlier in the novel, oh, I much prefer an engaged woman, he has said to his sister and Mrs. Grant. Yes, of course he does. So he's doing that. Mariah and Julia are fighting over him. Mr. Rushworth, he's not behaving badly, he's just behaving like a silly arse. Mary Crawford, my goodness, what is she up to? She's up to using the amateur dramatics for her own kind of seductions whilst pretending to be sort of doing it almost unwillingly. I mean, it seems to me an elaborate, beautifully choreographed elaboration of the selfishness, sensuality and hypocrisy of almost everybody involved. And it's not because it's amateur dramatics, but amateur dramatics gives them the chance to behave so badly.Henry Oliver (29:26)Someone told me that Thomas Piketty says that Jane Austen depicts a society in which inequality of wealth is natural and morally justified. Is that true?John Mullan (29:29)Ha⁓Well, again, Thomas Piketty, I wish we had him here for a good old mud wrestle. ⁓ I would say that the problem with his analysis is the coupling of the two adjectives, natural and morally right. I think there is a strong argument that inequality is depicted as natural or at least inevitable, inescapable in Jane Austen's novels.but not morally right, as it were. In fact, not at all morally right. There is a certain, I think you could be exaggerated little and call it almost fatalism about that such inequalities. Do you remember Mr. Knightley says to Emma, in Emma, when he's admonishing her for her, you know, again, a different way, terribly bad behavior.Henry Oliver (30:38)At the picnic.John Mullan (30:39)At the picnic when she's humiliatedMiss Bates really and Mr Knightley says something like if she'd been your equal you know then it wouldn't have been so bad because she could have retaliated she could have come back but she's not and she says and he says something like I won't get the words exactly right but I can get quite close he says sinceher youth, she has sunk. And if she lives much longer, will sink further. And he doesn't say, ⁓ well, we must have a collection to do something about it, or we must have a revolution to do something about it, or if only the government would bring in better pensions, you know, he doesn't, he doesn't sort of rail against it as we feel obliged to. ⁓ He just accepts it as an inevitable part of what happens because of the bad luck of her birth, of the career that her father followed, of the fact that he died too early probably, of the fact that she herself never married and so on. That's the way it is. And Mr Knightley is, I think, a remarkably kind character, he's one of the kindest people in Jane Austen and he's always doing surreptitious kindnesses to people and you know he gives the Bates's stuff, things to eat and so on. He arranges for his carriage to carry them places but he accepts that that is the order of things. ⁓ But I, you know Henry, I don't know what you think, I think reading novels or literature perhaps more generally, but especially novels from the past, is when you're responding to your question to Mr. Piketty's quote, is quite a sort of, can be quite an interesting corrective to our own vanities, I think, because we, I mean, I'm not saying, you know, the poor are always with us, as it were, like Jesus, but... ⁓ You know, we are so ⁓ used to speaking and arguing as if any degree of poverty is in principle politically remediable, you know, and should be. And characters in Jane Austen don't think that way. And I don't think Jane Austen thought that way.Henry Oliver (33:16)Yes, yes. Yeah.The other thing I would say is that ⁓ the people who discuss Jane Austen publicly and write about her are usually middle class or on middle class incomes. And there's a kind of collective blindness to the fact that what we call Miss Bates poverty simply means that she's slipping out of the upper middle class and she will no longer have her maid.⁓ It doesn't actually mean, she'll still be living on a lot more than a factory worker, who at that time would have been living on a lot more than an agricultural worker, and who would have been living on a lot more than someone in what we would think of as destitution, or someone who was necessitous or whatever. So there's a certain extent to which I actually think what Austin is very good at showing is the... ⁓ the dynamics of a newly commercial society. So at the same time that Miss Bates is sinking, ⁓ I forget his name, but the farmer, the nice farmer, Robert Martin, he's rising. And they all, all classes meet at the drapier and class distinctions are slightly blurred by the presence of nice fabric.John Mullan (34:24)Mr. Robert Martin. Henry Oliver (34:37)And if your income comes from turnips, that's fine. You can have the same material that Emma has. And Jane Austen knows that she lives in this world of buttons and bonnets and muslins and all these new ⁓ imports and innovations. And, you know, I think Persuasion is a very good novel. ⁓ to say to Piketty, well, there's nothing natural about wealth inequality and persuasion. And it's not Miss Bates who's sinking, it's the baronet. And all these admirals are coming up and he has that very funny line, doesn't he? You're at terrible risk in the Navy that you'd be cut by a man who your father would have cut his father. And so I think actually she's not a Piketty person, but she's very clear-eyed about... quote unquote, what capitalism is doing to wealth inequality. Yeah, yeah.John Mullan (35:26)Yes, she is indeed. Indeed.Clear-eyed, I think, is just the adjective. I mean, I suppose the nearest she gets to a description. Yeah, she writes about the classes that she knows from the inside, as it were. So one could complain, people have complained. She doesn't represent what it's like to be an agricultural worker, even though agricultural labour is going on all around the communities in which her novels are set.And I mean, I think that that's a sort of rather banal objection, but there's no denying it in a way. If you think a novelist has a duty, as it were, to cover the classes and to cover the occupations, then it's not a duty that Jane Austen at all perceived. However, there is quite, there is something like, not a representation of destitution as you get in Dickens.but a representation of something inching towards poverty in Mansfield Park, which is the famous, as if Jane Austen was showing you she could do this sort of thing, which is the whole Portsmouth episode, which describes with a degree of domestic detail she never uses anywhere else in her fiction. When she's with the more affluent people, the living conditions, the food, the sheer disgustingness and tawdryness of life in the lodgings in Portsmouth where the Price family live. And of course, in a way, it's not natural because ⁓ in their particular circumstances, Lieutenant Price is an alcoholic.They've got far too many children. ⁓ He's a useless, sweary-mouthed boozer ⁓ and also had the misfortune to be wounded. ⁓ And she, his wife, Fanny's mother, is a slattern. We get told she's a slattern. And it's not quite clear if that's a word in Fanny's head or if that's Jane Austen's word. And Jane Austen...Fanny even goes so far as to think if Mrs. Norris were in charge here, and Mrs. Norris is as it were, she's the biggest sadist in all Jane Austen's fiction. She's like sort Gestapo guard monquet. If Mrs. Norris were in charge, it wouldn't be so bad here, but it's terrible. And Jane Austen even, know, she describes the color of the milk, doesn't she? The blue moats floating in the milk.She dis- and it's all through Fanny's perception. And Fanny's lived in this rather loveless grand place. And now it's a great sort of, ⁓ it's a coup d'etat. She now makes Fanny yearn for the loveless grand place, you know, because of what you were saying really, Henry, because as I would say, she's such an unsentimental writer, you know, andyou sort of think, you know, there's going to be no temptation for her to say, to show Fanny back in the loving bosom of her family, realising what hollow hearted people those Bertrams are. You know, she even describes the mark, doesn't she, that Mr Price's head, his greasy hair is left on the wall. It's terrific. And it's not destitution, but it's something like a life which must be led by a great sort of rank of British people at the time and Jane Austen can give you that, she can.Henry Oliver (39:26)Yeah, yeah. That's another very Dickensian moment. I'm not going to push this little thesis of mine too far, but the grease on the chair. It's like Mr. Jaggers in his horse hair. Yes. That's right, that's right. ⁓ Virginia Woolf said that Jane Austen is the most difficult novelist to catch in the act of greatness. Is that true?John Mullan (39:34)Yes, yes, yes, it is these details that Dickens would have noticed of course. Yes.Yes.⁓ I think it is so true. think that Virginia Woolf, she was such a true, well, I think she was a wonderful critic, actually, generally. Yeah, I think she was a wonderful critic. you know, when I've had a couple of glasses of Rioja, I've been known to say, to shocked students, ⁓ because you don't drink Rioja with students very often nowadays, but it can happen. ⁓ But she was a greater critic than novelist, you know.Henry Oliver (39:54)Yeah.Best critic of the 20th century. Yes, yes. Yeah. And also greater than Emson and all these people who get the airtime. Yes, yes.John Mullan (40:20)You know.I know, I know, but that's perhaps because she didn't have a theory or an argument, you know, and the Seven Types, I know that's to her credit, but you know, the Seven Types of Ambiguity thing is a very strong sort of argument, even if...Henry Oliver (40:31)Much to her credit.But look, if the last library was on fire and I could only save one of them, I'd let all the other critics in the 20th century burn and I'd take the common reader, wouldn't you?John Mullan (40:47)Okay. Yes, I, well, I think I agree. think she's a wonderful critic and both stringent and open. I mean, it's an extraordinary way, you know, doesn't let anybody get away with anything, but on the other hand is genuinely ready to, to find something new to, to anyway. ⁓ the thing she said about Austin, she said lots of good things about Austin and most of them are good because they're true. And the thing about… Yes, so what I would, I think what she meant was something like this, that amongst the very greatest writers, so I don't know, Shakespeare or Milton or, you know, something like that, you could take almost a line, yes? You can take a line and it's already glowing with sort of radioactive brilliance, know, and ⁓ Jane Austen, the line itself, there are wonderful sentences.)Mr. Bennett was so odd a mixture of quick parts, sarcastic humor, reserve and caprice that the experience of three and 20 years had been insufficient to make his wife understand his character. I mean, that's as good as anything in Hamlet, isn't it? So odd a mixture and there he is, the oddest mixture there's ever been. And you think he must exist, he must exist. But anyway, most lines in Jane Austen probably aren't like that and it's as if in order to ⁓ explain how brilliant she is and this is something you can do when you teach Jane Austen, makes her terrific to teach I think, you can look at any bit and if everybody's read the novel and remembers it you can look at any paragraph or almost any line of dialogue and see how wonderful it is because it will connect to so many other things. But out of context, if you see what I mean, it doesn't always have that glow of significance. And sometimes, you know, the sort of almost most innocuous phrases and lines actually have extraordinary dramatic complexity. but you've got to know what's gone on before, probably what goes on after, who's in the room listening, and so on. And so you can't just catch it, you have to explain it. ⁓ You can't just, as it were, it, as you might quote, you know, a sort of a great line of Wordsworth or something.Henry Oliver (43:49)Even the quotable bits, you know, the bit that gets used to explain free and direct style in Pride and Prejudice where she says ⁓ living in sight of their own warehouses. Even a line like that is just so much better when you've been reading the book and you know who is being ventriloquized.John Mullan (43:59)Well, my favourite one is from Pride and Prejudice is after she's read the letter Mr Darcy gives her explaining what Wickham is really like, really, for truth of their relationship and their history. And she interrogates herself. And then at the end, there's ⁓ a passage which is in a passage of narration, but which is certainly in going through Elizabeth's thoughts. And it ends, she had been blind, partial, prejudiced, absurd. And I just think it's, if you've got to know Elizabeth, you just know that that payoff adjective, absurd, that's the coup de grace. Because of course, finding other people absurd is her occupation. It's what makes her so delightful. And it's what makes us complicit with her.Henry Oliver (44:48)Yeah.That's right.John Mullan (45:05)She sees how ridiculous Sir William Lucas and her sister Mary, all these people, and now she has absurded herself, as it were. So blind partial prejudice, these are all repetitions of the same thought. But only Elizabeth would end the list absurd. I think it's just terrific. But you have to have read the book just to get that. That's a whole sentence.You have to have read the book to get the sentence, don't you?Henry Oliver (45:34)Yep, indeed. ⁓ Do we love Jane Austen too much so that her contemporaries are overshadowed and they're actually these other great writers knocking around at the same time and we don't give them their due? Or is she in fact, you know, the Shakespeare to their Christopher Marlowe or however you want to.John Mullan (45:55)I think she's the Shakespeare to their Thomas Kidd or no even that's the... Yes, okay, I'm afraid that you know there are two contradictory answers to that. Yes, it does lead us to be unfair to her contemporaries certainly because they're so much less good than her. So because they're so much less good than her in a way we're not being unfair. know, I mean... because I have the profession I have, I have read a lot of novels by her immediate predecessors. I mean, people like Fanny Burnie, for instance, and her contemporaries, people like Mariah Edgeworth. And ⁓ if Jane Austen hadn't existed, they would get more airtime, I think, yes? And some of them are both Burnie and Edgeworth, for instance. ⁓ highly intelligent women who had a much more sophisticated sort of intellectual and social life than Jane Austen ⁓ and conversed with men and women of ideas and put some of those ideas in their fiction and they both wrote quite sophisticated novels and they were both more popular than Jane Austen and they both, having them for the sort of carpers and complainers, they've got all sorts of things like Mariah Regworth has some working-class people and they have political stuff in their novels and they have feminist or anti-feminist stuff in their novels and they're much more satisfying to the person who's got an essay to write in a way because they've got the social issues of the day in there a bit, certainly Mariah Regworth a lot. ⁓ So if Jane Austen hadn't come along we would show them I think more, give them more time. However, you know, I don't want to say this in a destructive way, but in a certain way, all that they wrote isn't worth one paragraph of Jane Austen, you know, in a way. So we're not wrong. I suppose the interesting case is the case of a man actually, which is Walter Scott, who sort of does overlap with Jane Austen a bit, you know, and who has published what I can't remember, two, three, even four novels by the time she dies, and I think three, and she's aware of him as a poet and I think beginning to be aware of him as a novelist. And he's the prime example of somebody who was in his own day, but for a long time afterwards, regarded as a great novelist of his day. And he's just gone. He's really, you know, you can get his books in know, Penguin and Oxford classics in the shops. I mean, it's at least in good big book shops. And it's not that he's not available, but it's a very rare person who's read more than one or even read one. I don't know if you read lots of Scott, Henry.Henry Oliver (49:07)Well, I've read some Scott and I quite like it, but I was a reactionary in my youth and I have a little flame for the Jacobite cause deep in my heart. This cannot be said of almost anyone who is alive today. 1745 means nothing to most people. The problem is that he was writing about something that has just been sort of forgotten. And so the novels, know, when Waverly takes the knee in front of the old young old pretender, whichever it is, who cares anymore? you know?John Mullan (49:40)Well, yes, but it can't just be that because he also wrote novels about Elizabeth I and Robin Hood and, you know... ⁓Henry Oliver (49:46)I do think Ivanhoe could be more popular, yeah.John Mullan (49:49)Yeah, so it's not just that this and when he wrote, for instance, when he published Old Mortality, which I think is one of his finest novels, I mean, I've read probably 10 Scott novels at nine or 10, you know, so that's only half or something of his of his output. And I haven't read one for a long time, actually. Sorry, probably seven or eight years. He wrote about some things, which even when he wrote about and published about, readers of the time couldn't have much known or cared about. mean, old mortalities about the Covenant as wars in the borderlands of Scotland in the 17th century. I mean, all those people in London who were buying it, they couldn't give a damn about that. Really, really, they couldn't. I mean, they might have recognized the postures of religious fanaticism that he describes rather well.But even then only rather distantly, I think. So I think it's not quite that. I think it's not so much ignorance now of the particular bits of history he was drawn to. I think it's that in the 19th century, historical fiction had a huge status. And it was widely believed that history was the most dignified topic for fiction and so dignified, it's what made fiction serious. So all 19th century authors had a go at it. Dickens had a go at it a couple of times, didn't he? I think it's no, yes, yes, think even Barnaby Rudge is actually, it's not just a tale of two cities. Yes, a terrific book. But generally speaking, ⁓ most Victorian novelists who did it, ⁓ they are amongst, you know, nobodyHenry Oliver (51:22)Very successfully. ⁓ a great book, great book.John Mullan (51:43)I think reads Trollope's La Vendée, you know, people who love Hardy as I do, do not rush to the trumpet major. it was a genre everybody thought was the big thing, know, war and peace after all. And then it's prestige faded. I mean, it's...returned a little bit in some ways in a sort of Hillary man, Tellish sort of way, but it had a hugely inflated status, I think, in the 19th century and that helped Scott. And Scott did, know, Scott is good at history, he's good at battles, he's terrific at landscapes, you know, the big bow wow strain as he himself described it.Henry Oliver (52:32)Are you up for a sort of quick fire round about other things than Jane Austen?John Mullan (52:43)Yes, sure, try me.Henry Oliver (52:44)Have you used any LLMs and are they good at talking about literature?John Mullan (52:49)I don't even know what an LLM is. What is it? Henry Oliver (52:51)Chat GPT. ⁓ John Mullan (53:17)⁓ God, goodness gracious, it's the work of Satan.Absolutely, I've never used one in my life. And indeed, have colleagues who've used them just to sort of see what it's like so that might help us recognise it if students are using them. And I can't even bring myself to do that, I'm afraid. But we do as a...As a department in my university, we have made some use of them purely in order to give us an idea of what they're like, so to help us sort of...Henry Oliver (53:28)You personally don't feel professionally obliged to see what it can tell you. Okay, no, that's fine. John Mullan (53:32)No, sorry.Henry Oliver (53:33)What was it like being a Booker Prize judge?heady. It was actually rather heady. Everybody talks about how it's such a slog, all those books, which is true. But when you're the Booker Prize judge, at least when I did it, you were treated as if you were somebody who was rather important. And then as you know, and that lasts for about six months. And you're sort of sent around in taxes and give nice meals and that sort of thing. And sort of have to give press conferences when you choose the shortlist. and I'm afraid my vanity was tickled by all that. And then at the moment after you've made the decision, you disappear. And the person who wins becomes important. It's a natural thing, it's good. And you realize you're not important at all.Henry Oliver (54:24)You've been teaching in universities, I think, since the 1990s.John Mullan (54:29)Yes, no earlier I fear, even earlier.Henry Oliver (54:32)What are the big changes? Is the sort of media narrative correct or is it more complicated than that?John Mullan (54:38)Well, it is more complicated, but sometimes things are true even though the Daily Telegraph says they're true, to quote George Orwell. ⁓ you know, I mean, I think in Britain, are you asking about Britain or are you asking more generally? Because I have a much more depressing view of what's happened in America in humanities departments.Henry Oliver (54:45)Well, tell us about Britain, because I think one problem is that the American story becomes the British story in a way. So what's the British story?John Mullan (55:07)Yes, yes, think that's true.Well, I think the British story is that we were in danger of falling in with the American story. The main thing that has happened, that has had a clear effect, was the introduction in a serious way, however long ago it was, 13 years or something, of tuition fees. And that's really, in my department, in my subject, that's had a major change.and it wasn't clear at first, but it's become very clear now. So ⁓ it means that the, as it were, the stance of the teachers to the taught and the taught to the teachers, both of those have changed considerably. Not just in bad ways, that's the thing. It is complicated. So for instance, I mean, you could concentrate on the good side of things, which is, think, I don't know, were you a student of English literature once?Henry Oliver (55:49)Mm-hmm.I was, I was. 2005, long time ago.John Mullan (56:07)Yes. OK.Well, I think that's not that long ago. mean, probably the change is less extreme since your day than it is since my day. But compared to when I was a student, which was the end of the 70s, beginning of the 80s, I was an undergraduate. The degree of sort of professionalism and sobriety, responsibility and diligence amongst English literature academics has improved so much.You know, you generally speaking, literature academics, they are not a load of ⁓ drunken wastrels or sort of predatory seducers or lazy, work shy, ⁓ even if they love their own research, negligent teachers or a lot of the sort of the things which even at the time I recognise as the sort of bad behaviour aspects of some academics. Most of that's just gone. It's just gone. You cannot be like that because you've got everybody's your institution is totally geared up to sort of consumer feedback and and the students, especially if you're not in Oxford or Cambridge, the students are essentially paying your salaries in a very direct way. So there have been improvements actually. ⁓ those improvements were sort of by the advocates of tuition fees, I think, and they weren't completely wrong. However, there have also been some real downsides as well. ⁓ One is simply that the students complain all the time, you know, and in our day we had lots to complain about and we never complained. Now they have much less to complain about and they complain all the time. ⁓ So, and that seems to me to have sort of weakened the relationship of trust that there should be between academics and students. But also I would say more if not optimistically, at least stoically. I've been in this game for a long time and the waves of student fashion and indignation break on the shore and then another one comes along a few years later. And as a sort of manager in my department, because I'm head of my department, I've learned to sort of play the long game.And what everybody's hysterical about one moment, one year, they will have forgotten about two or three years later. So there has been a certain, you know, there was a, you know, what, what, you know, some conservative journalists would call kind of wokery. There has been some of that. But in a way, there's always been waves of that. And the job of academics is sort of to stand up to it. and in a of calm way. Tuition fees have made it more difficult to do that I think.Henry Oliver (59:40)Yeah. Did you know A.S. Byatt? What was she like?John Mullan (59:43)I did.⁓ Well...When you got to know her, you recognized that the rather sort of haughty almost and sometimes condescending apparently, ⁓ intellectual auteur was of course a bit of a front. Well, it wasn't a front, but actually she was quite a vulnerable person, quite a sensitive and easily upset person.I mean that as a sort of compliment, not easily upset in the sense that sort of her vanity, but actually she was quite a humanly sensitive person and quite woundable. And when I sort of got to know that aspect of her, know, unsurprisingly, I found myself liking her very much more and actually not worrying so much about the apparent sort of put downs of some other writers and things and also, you know, one could never have said this while she was alive even though she often talked about it. I think she was absolutely permanently scarred by the death of her son and I think that was a, you know, who was run over when he was what 11 years old or something. He may have been 10, he may have been 12, I've forgotten, but that sort of age. I just think she was I just think she was permanently lacerated by that. And whenever I met her, she always mentioned it somehow, if we were together for any length of time.Henry Oliver (1:01:27)What's your favourite Iris Murdoch novel?John Mullan (1:01:33)I was hoping you were going to say which is the most absurd Aris Murdoch novel. ⁓ No, you're an Aris Murdoch fan, are you? Henry Oliver (1:01:38)Very much so. You don't like her work?John Mullan (1:01:59)Okay. ⁓ no, it's, as you would say, Henry, more complicated than that. I sort of like it and find it absurd. It's true. I've only read, re-read in both cases, two in the last 10 years. And that'sThat's not to my credit. And both times I thought, this is so silly. I reread the C to C and I reread a severed head. And I just found them both so silly. ⁓ I was almost, you know, I almost lost my patience with them. But I should try another. What did I used to like? Did I rather like an accidental man? I fear I did.Did I rather like the bell, which is surely ridiculous. I fear I did. Which one should I like the most?Henry Oliver (1:02:38)I like The Sea, the Sea very much. ⁓ I think The Good Apprentice is a great book. There are these, so after The Sea, the Sea, she moves into her quote unquote late phase and people don't like it, but I do like it. So The Good Apprentice and The Philosopher's Pupil I think are good books, very good books.John Mullan (1:02:40)I've not read that one, I'm afraid. Yes, I stopped at the sea to sea. I, you know, once upon a time, I'm a bit wary of it and my experience of rereading A Severed Head rather confirmed me in my wariness because rereading, if I were to reread Myris Murdoch, I'm essentially returning to my 18 year old self because I read lots of Myris Murdoch when I was 17, 18, 19 and I thought she was deep as anything. and to me she was the deep living British novelist. And I think I wasn't alone ⁓ and I feel a little bit chastened by your advocacy of her because I've also gone along with the ⁓ general readership who've slightly decided to ditch Irish Murdoch. her stock market price has sunk hugely ⁓ since her death. But perhaps that's unfair to her, I don't know. I've gone a bit, I'll try again, because I recently have reread two or three early Margaret Drabble novels and found them excellent, really excellent. And thought, ⁓ actually, I wasn't wrong to like these when I was a teenager. ⁓Henry Oliver (1:04:11)The Millstone is a great book.John Mullan (1:04:22)⁓ yes and actually yes I reread that, I reread the Garrick year, the Millstone's terrific I agree, the the Garrick year is also excellent and Jerusalem the Golden, I reread all three of them and and and thought they were very good. So so you're recommending the Philosopher's Apprentice. I'm yeah I'm conflating yes okay.Henry Oliver (1:04:31)first rate. The Good Apprentice and the Philosopher's Pupil. Yeah, yeah. I do agree with you about A Severed Head. I think that book's crazy. What do you like about Patricia Beer's poetry?John Mullan (1:04:56)⁓ I'm not sure I am a great fan of Patricia Beer's poetry really. I got the job of right, what? Yes, yes, because I was asked to and I said, I've read some of her poetry, but you know, why me? And the editor said, because we can't find anybody else to do it. So that's why I did it. And it's true that I came.Henry Oliver (1:05:02)Well, you wrote her... You wrote her dictionary of national... Yes.John Mullan (1:05:23)I came to quite like it and admire some of it because in order to write the article I read everything she'd ever published. But that was a while ago now, Henry, and I'm not sure it puts me in a position to recommend her.Henry Oliver (1:05:35)Fair enough.Why is the Dunciad the greatest unread poem in English?John Mullan (1:05:41)Is it the greatest unread one? Yes, probably, yes, yes, I think it is. Okay, it's great because, first of all, great, then unread. It's great because, well, Alexander Poet is one of the handful of poetic geniuses ever, in my opinion, in the writing in English. Absolutely genius, top shelf. ⁓Henry Oliver (1:05:46)Well, you said that once, yes.Mm-hmm. Yes, yes, yes. Top shelf, yeah.John Mullan (1:06:09)And even his most accessible poetry, however, is relatively inaccessible to today's readers, sort of needs to be taught, or at least you have to introduce people to. Even the Rape of the Lock, which is a pure delight and the nearest thing to an ABBA song he ever wrote, is pretty scary with its just densely packed elusiveness and...Henry Oliver (1:06:27)YouJohn Mullan (1:06:38)You know, and as an A level examiner once said to me, we don't set Pope for A level because it's full of irony and irony is unfair to candidates. ⁓ Which is true enough. ⁓ So Pope's already difficult. ⁓ Poetry of another age, poetry which all depends on ideas of word choice and as I said, literary allusion and The Dunciad is his most compacted, elusive, dense, complicated and bookish poems of a writer who's already dense and compact and bookish and elusive. And the Dunceyad delights in parodying, as I'm sure you know, all the sort of habits of scholarly emendation and encrustation, which turn what should be easy to approach works of literature into sort of, you know, heaps of pedantic commentary. And he parodies all that with delight. But I mean, that's quite a hard ask, isn't it? And ⁓ yeah, and I just and I think everything about the poem means that it's something you can only ever imagine coming to it through an English literature course, actually. I think it is possible to do that. I came to it through being taught it very well and, you know, through because I was committed for three years to study English literature, but it's almost inconceivable that somebody could just sort of pick it up in a bookshop and think, ⁓ this is rather good fun. I'll buy this.Henry Oliver (1:08:26)Can we end with one quick question about Jane Austen since it's her birthday? A lot of people come to her books later. A lot of people love it when they're young, but a lot of people start to love it in their 20s or 30s. And yet these novels are about being young. What's going on there?John Mullan (1:08:29)Sure, sure.Yes.I fear, no not I fear, I think that what you describe is true of many things, not just Jane Austen. You know, that there's a wonderful passage in J.M. Coetzee's novel Disgrace where the reprehensible protagonist is teaching Wordsworth's Prelude.to a group of 19 and 20 year olds. And he adores it. He's in his mid fifties. And he, whilst he's talking, is thinking different things. And what he's thinking is something that I often think actually about certain works I teach, particularly Jane Austen, which is this book is all about being young, but the young find it tedious. Only the aging.You know, youth is wasted on the young, as it were. Only the aging really get its brilliance about the experience of being young. And I think that's a sort of pattern in quite a lot of literature. So, you know, take Northanger Abbey. That seems to me to be a sort of disly teenage book in a way.It's everything and everybody's in a hurry. Everybody's in a whirl. Catherine's in a whirl all the time. She's 17 years old. And it seems to me a delightfully teenage-like book. And if you've read lots of earlier novels, mostly by women, about girls in their, you know, nice girls in their teens trying to find a husband, you know, you realize that sort ofextraordinary magical gift of sort Jane Austen's speed and sprightliness. You know, somebody said to me recently, ⁓ when Elizabeth Bennet sort of walks, but she doesn't walk, she sort of half runs across the fields. You know, not only is it socially speaking, no heroine before her would have done it, but the sort of the sprightliness with which it's described putsthe sort of ploddingness of all fiction before her to shame. And there's something like that in Northanger Abbey. It's about youthfulness and it takes on some of the qualities of the youthfulness of its heroine. know, her wonderful oscillations between folly and real insight. You know, how much she says this thing. I think to marry for money is wicked. Whoa. And you think,Well, Jane Austen doesn't exactly think that. She doesn't think Charlotte Lucas is wicked, surely. But when Catherine says that, there's something wonderful about it. There is something wonderful. You know, only a 17 year old could say it, but she does. And but I appreciate that now in my 60s. I don't think I appreciated it when I was in my teens.Henry Oliver (1:11:55)That's a lovely place to end. John Mullen, thank you very much.John Mullan (1:11:58)Thanks, it's been a delight, a delight. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

In this week's round-up of the latest news in online speech, content moderation and internet regulation, Mike and Ben cover:Resonant Computing Manifesto Support Techdirt's Uncompromising Coverage, Get Our First Commemorative Coin (Techdirt)US Ambassador Slams EU Tech Rules as Musk's X Hit With Fine (Bloomberg)Why the X fine is causing so much transatlantic drama (Politico)Tech workers face new H1-B scrutiny as Trump targets ‘censorship' (Washington Post)H1-B visa advice (LinkedIn - Alice Hunsberger)Australian leader defends social media ban as teens flaunt workarounds (Reuters)Age restrictions alone won't keep children safe online (Unicef)Focus must be on making social media safe for children as Australia brings in ban (Save The Children)Operation Bluebird tries to reclaim Twitter (LinkedIn)This episode is brought to you by our sponsor CCIA, an international, not-for-profit trade association representing a broad cross section of communications and technology firms and that promotes open markets, open systems, and open networks. Ctrl-Alt-Speech is a weekly podcast from Techdirt and Everything in Moderation. Send us your feedback at podcast@ctrlaltspeech.com and sponsorship enquiries to sponsorship@ctrlaltspeech.com. Thanks for listening.

Sense and Sensibility by Jane Austen chapter 19, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Edward stayed for a week with the Dashwood's, and regardless of how much he seemed to be enjoying himself with the women, he said that he had to leave, though he knew not where to. He detested being in town, and didn't want to go to Norland, but he was going to go to one of them. Elanor believes that it is all his mother's fault. What Edward craves in independence, and in order to get it, Mrs. Dashwood asks why the man he never sought a profession. Edward explains that his wants always went against his parents wishes, and when he finally found something that he would maybe like, and that his family would agree to, he felt himself to be too old. After Edward's departure, Elanor tries to behave normally, and not back away from conversation about him.One morning, soon after the departure of Edward, Sir John Middleton, arrives with a party at Barton cottage. It is the Palmer family, Mrs. Jenning's and her son and daughter. Mrs. Palmer is a younger woman with a plump figure, and Mr. Palmer is a man of around twenty-five who contents himself in reading the paper, while the others talk. They stay for a while, and before leaving, Sir John presses the women of Barton Cottage to come for dinner.SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

In episode 82, The Boston Sisters discuss the Hallmark Channel's adaptation of Jane Austen's Sense and Sensibility featuring a multiracial cast. Vanessa Riley, the historical and cultural consulting producer, shares her journey into Austen's works and her role in ensuring historical accuracy and cultural sensitivity. Riley also discusses her novels Queen of Exilesand Island Queen, which explore the lives of Marie-Louise Christophe, Haiti's only queen, and Dorothy “Dolly” Kirwan Thomas, a formerly enslaved woman who became a wealthy entrepreneur. Riley emphasizes the importance of representing diverse historical figures and the potential adaptation of her novels into films.Award-winning author Vanessa Riley, honored as the 2023 Georgia Literary Fiction Author of the Year, spotlights hidden narratives of Black women and women of color in novels. Her works emphasize strong sisterhoods, diverse communities, and power across historical fiction, romance, and mystery genres.TIMESTAMPS0:03 - Podcast description1:30 - Overview of Sense and Sensibility2:42 - Introduction to Vanessa Riley, historical and cultural producer and historical fiction author4:05 - Vanessa's Jane Austen origin story7:25 - Jane Austen's wit9:19 - Historical authenticity and cultural sensitivity in Hallmark Channel's SENSE AND SENSIBILITY17:39 - Challenges and achievements in adapting “Sense and Sensibility”20:35 - Generic Break21:03 - Discovering Dorothy “Dolly' Kirwan Thomas, “Island Queen”28:35 - Vanessa's Research and discoveries for “Queen of Exiles” (Marie-Louise Christophe)36:15 - Future adaptations and Vanessa Riley's visionNote: Ep. 82 has been updated to correct a technical error in the introduction. ------SUBSCRIBE to HISTORICAL DRAMA WITH THE BOSTON SISTERS® on your favorite podcast platformENJOY past podcasts and bonus episodesSIGN UP for our mailing listSUPPORT this podcast  SHOP THE PODCAST on our affiliate bookstoreBuy us a Coffee! You can support by buying a coffee ☕ here — buymeacoffee.com/historicaldramasistersThank you for listening!

Sense and Sensibility by Jane Austen chapter 18, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Elanor sees that Edward is very unhappy, and she is uncertain of his affection towards her. Marianne tries to leave her sister alone with Edward, but he decides instead to go and check on his horses. This seems to have been a good thing however, as he seems to appreciate the village and countryside a lot more than before. Marianne presses him to describe the areas as he sees them, but he refuses, as he has no knowledge of the picturesque. To him, it is a fine country, but nothing more, he cannot describe the country better. During this conversation, Marianne happens to notice a ring on Edward's finger, which is embossed with a plait of hair. Marianne thinks this hair to come from his sister, but Elanor knows it to actually be her own hair, and she is finally relieved and convinced once again is Edward's affections. At the middle of the day, they are greeted by Sir Middleton, and Mrs. Jennings, where the two are very quick to learn that Edward's surname begins with an F. Sir John Middleton also invites them all to tea, and to supper so that they can get to know this gentleman better. Sir John laments about Willoughby's absence, and following his and Mrs. Jenning's departure, Edward goes to Marianne to poke fun at her regarding this unknown man.SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Merriam-Webster's Word of the Day for December 6, 2025 is: sensibility • sen-suh-BIL-uh-tee • noun Sensibility is a formal word often used in its plural form to refer someone's personal or cultural approach to what they encounter, as in “the speaker made sure to tailor his speech to the sensibilities of his audience.” Sensibility can also be used for the kind of feelings a person tends to have in general, as well as for the ability to feel and understand emotions. // Many older cartoons feel out of line with modern sensibilities. // She brought an artistic sensibility to every facet of her life, not just her celebrated painting. See the entry > Examples: “[Lady] Gaga's absurdist sensibilities have long been an underrated facet of her work—probably because she's so good at delivering them with a straight face.” — Rich Juzwiak, Pitchfork, 10 Mar. 2025 Did you know? The meanings of sensibility run the gamut from mere sensation to excessive sentimentality, but we're here to help you make sense of it all. In between is a capacity for delicate appreciation, a sense often pluralized. In Jane Austen's books, sensibility is mostly an admirable quality she attributes to, or finds lacking in, her characters: “He had ... a sensibility to what was amiable and lovely” (of Mr. Elliot in Persuasion). In Sense and Sensibility, however, Austen starts out by ascribing to Marianne sensibleness, on the one hand, but an “excess of sensibility” on the other: “Her sorrows, her joys, could have no moderation ... she was everything but prudent.”

Sense and Sensibility by Jane Austen chapter 17, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:On arriving at the cottage, Mrs. Dashwood welcomes Edward Ferras like a son, and his shy, reserve countenance soon fades. He becomes interested in the family again. Mrs. Dashwood asks him about his mother, and Edward replies that while his mother is disappointed, she has concluded that she cannot force Edward to forgo his nature and become a famous orator/politician. Edward, above all else, wants to be happy. Elanor agrees only slightly with Edward's views, saying that money can bring happiness. Marianne is on Edwards side, claiming that “money can only give happiness where there is nothing else to give.” Elanor refutes her sister's points, claiming that Marianne does not believe what she says, as her idea of a small income is enough to have servants, horses, carriages, and hunters… Edwards is confused by Marianne's views, but before he can refute, Margret wishes that someone would just give them all a lump of money. The night goes on with them talking about what they would do if they were to all have enough money to do what ever they wished to do. Edward jokes that they would spend it all on books, music, theatre, and the like. He then asks her if her opinions on people only being able to fall in love Once have changed. They haven't. Marianne calls out Edward on his humour, and he retorts that he has never really been very genial. Edward goes on to say that he has never been at ease with people; he always seems to offend, when he is realistically only kept back by his own natural awkwardness. He says that he feels somewhat inferior, and it's probably that that keeps him from being easy with people. Marianne then jabs that he would still be reserved, which he takes offense at, as if he didn't know that he was reserved.SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Are you obsessed with Jane Austen's books? Then come listen to an insightful and fun conversation with Professor John Mullan. It's the next best thing to meeting Jane Austen in person. John Mullan is Professor of Modern English Literature at University College London. He has published widely on eighteenth and nineteenth-century literature, his books include The Artful Dickens. He has edited Jane Austen's Sense and Sensibility and Emma for Oxford World's Classics. He is also a broadcaster and journalist, writing on contemporary fiction for the Guardian. He has taught Austen to university students for over three decades, and has lectured widely to lovers of her fiction in both the UK and the US. In this captivating conversation, Maki Morris (In the Bookroom with Maki) speaks with Professor John Mullan about his insights into Jane Austen's works. They explore the themes of Austen's novels, the significance of weather, the unique characteristics of characters who never speak, and the process of writing about such a beloved author. Mullan shares his favorite chapters from his book, discusses the importance of adaptations, and offers recommendations for those new to Austen's literature. The conversation highlights the enduring legacy of Jane Austen and the excitement surrounding her 250th birthday.

Are you obsessed with Jane Austen's books? Then come listen to an insightful and fun conversation with Professor John Mullan. It's the next best thing to meeting Jane Austen in person. John Mullan is Professor of Modern English Literature at University College London. He has published widely on eighteenth and nineteenth-century literature, his books include The Artful Dickens. He has edited Jane Austen's Sense and Sensibility and Emma for Oxford World's Classics. He is also a broadcaster and journalist, writing on contemporary fiction for the Guardian. He has taught Austen to university students for over three decades, and has lectured widely to lovers of her fiction in both the UK and the US. In this captivating conversation, Maki Morris (In the Bookroom with Maki) speaks with Professor John Mullan about his insights into Jane Austen's works. They explore the themes of Austen's novels, the significance of weather, the unique characteristics of characters who never speak, and the process of writing about such a beloved author. Mullan shares his favorite chapters from his book, discusses the importance of adaptations, and offers recommendations for those new to Austen's literature. The conversation highlights the enduring legacy of Jane Austen and the excitement surrounding her 250th birthday.

This week on Jam Session, the annual gift guide returns for its 77th year (or something like that). Before the recommendations, though, Juliet and Amanda run through a few rapid-fire celebrity updates: Kaia Gerber's swirling dating rumors (3:18), the latest on the elusive ‘Marty Supreme' jacket (8:23), new developments in the ‘It Ends With Us' lawsuit (12:37), and Mila Kunis's reemergence in a Wall Street Journal spotlight in the wake of her upcoming movie, ‘Wake U p Dead Man:  A Knives Out Mystery' (16:49). Finally, the two go all out for their epic holiday gift guide (22:07) They break down their top picks across every category: domestic home finds (22:18), budget-friendly favorites (45:11), skin-care must-haves (56:20), gifts for kids (1:01:15), and much more. Hosts: Amanda Dobbins and Juliet Litman Producers: Jade Whaley and Belle Roman You can find the links to the gift recommendations here: Juliet's Recs - Helen's lamps: Here  - Birdfeeder with camera: Here - Lifestraw Water Filter  - Sessun outerwear: Here   Here - Dorsey Kate Lab Grown Diamond Tennis Bracelet Dorsey: Here  - Baggu pouches and packing cubes  - Verloop: Here  - Wool and the gang hat kit: Here  - Swedish candy: Here - Ipsy makeup box  - Popclox: Here  - Folio Society: Here  - Linger by Hetty McKinnon  - Immodest Cotton lunch tote: Here  Amanda's Recs - Moccamaster KGBV Select: Here - Kismet cookbook and Spice House spices: Kismet cookbook Spice House Spices Spice House Pepper Flakes - Rihanna Phaidon book: Here - Bar Snacks at Bemelmans: Here - Ziip Halo: Here - Sense and Sensibility tickets and book: Sense and Sensibility Tickets Sense and Sensibility Book - Amilab lip balm: Here - The Ones membership: Here - SotoMethod subscription: Here - Gift Guide by Kaitlin Phillips: Here - Monastery Essentials Kit: Here - Merit Great Skin Trio: Here - The Loneliness of Sonia and Sunny: Here - Pajamas for kids:  Petite Plum Minow Hannah Anderson - Faux fur coat that Juliet told me not to buy: Here Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which author wrote 'Little Dorrit'? Question 2: What is the name of the Japanese art of paper folding? Question 3: Which author wrote 'The Little Mermaid'? Question 4: In Charles Dickens' "A Christmas Carol", how many different ghosts visited Scrooge? Question 5: Which author wrote 'The Scarlet Letter'? Question 6: What are the names of the three Brontë sisters? Question 7: Which Shakespeare play begins with 3 witches? Question 8: Which author wrote 'Sense and Sensibility'? Question 9: Which author wrote 'The Pickwick Papers'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

D. Harlan Wilson's interview with author Ben H. Winters. Conducted in late July, they discuss Ben's now-completed, heavily Philip K. Dick influenced comic series Benjamin. Ben began his career with the parody novel Sense and Sensibility and Sea Monsters and is best known for mystery/sci-fi novels such as The Last Policeman and Underground Airlines, as well as for creating the CBS show Tracker.•Our Patreon ►► http://www.patreon.com/LanghorneJTweed•Electric Larryland Discord ►► https://discord.com/channels/557458722268643329•David's YouTube Channel ►► https://www.youtube.com/user/Veganrevwithzombies/•D. Harlan Wilson's Website: ►► https://dharlanwilson.com/Find Ben H. Winters:•Website ►► https://www.benhwinters.com/•Benjamin ►► https://oni-press.myshopify.com/products/benjamin-1?_pos=2&_sid=553ee5927&_ss=rMusic on this episode is from - Valis: An Opera by Tod MachoverCheck it out here: http://www.amazon.com/Valis-ANNE-BOGDEN…EMA/dp/B000003GI2FIND US:Twitter ►► https://twitter.com/DickheadspodFacebook ►► https://www.facebook.com/Dickheadspodcast/Soundcloud ►► https://soundcloud.com/dickheadspodcastInstagram ►► https://www.instagram.com/dickheadspodcast/YouTube ►► https://www.youtube.com/@DickHeadsPodcast

Sense and Sensibility by Jane Austen chapter 16, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Marianne is destroyed by the departure of Willoughby. She eats little, and cries for the majority of the time. She seems to nourish her grief by playing songs on the piano that she and he used to sing together, and reads books that they read together too. After several days she falls into a melancholy state. She has received no news from Willoughby, but Mrs. Dashwood seems to think this normal, as their letters get collected by Sir John before delivery. Elinor urges her mother to ask Marianne if she and Willoughby are engaged, but she refuses. The family walks on eggshells and tries not to mention his name and succeed in this endeavour for a few days until Mrs. Dashwood slipped up, causing Marianne to lament that she doesn't know when he will be coming back. After about a week, Marianne finally agrees to walk with Elinor on the downs where in the distance they see a gentleman on horseback riding towards them. Marianne exclaims it to be Willoughby and runs towards him, Elinor runs after her sister, knowing it not to be the man she loves. Arriving at the man, Marianne discovers it to not be Willoughby, but Edward Ferrars, and for a moment she is happy for her sister Elinor. This doesn't last long as Edward seems distant and confused at seeing the girls and is silent unless asked a question. Elinor is also a little disappointed by this, but persists at continuing a conversation with him while walking back to their cottage. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

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Sense and Sensibility by Jane Austen chapter 15, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Mrs. Dashwood and 2 of her daughters go to visit Lady Middleton while Marianne stayed home, which Mrs. Dashwood allowed on the pretence that Willoughby was going to probably pass by. When the come home, they find Marianne in tears running past them up the stairs to her room, and Willoughby in a disappointed state. On questioning, the girls learn that Willoughby has been asked to head to London on business; he is to leave that day. The women are shocked by this statement, and in spite of Mrs. Dashwood extending an invitation for him to stay with them as soon as his business is done, he states that he can not take up her up on her kind offer and leaves.Mrs Dashwood and Elinor are stunned and each of the women think about what could have caused Willoughby to act and speak so unlike himself. Elinor believes that her sister and Willoughby must have, no matter how hard to believe, had a large fight. Her mother soon descends the stairs to join her daughter. Mrs. Dashwood claims to have thought through Willoughby's behaviour and has concluded that the man had not the power to accept her kind offer and is still sure of Willoughby's love for her daughter. She believes that Mrs. Smith knows about and disapproves of Willoughby's attachment to Marianne and has sent him away from her. Elinor and her mother go back and forth a little and Elinor concludes that her mother's reasoning is probably correct, though she would have liked to have confirmation of their engagement. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Dead of Winter sees Dame Emma Thompson (Sense and Sensibility) shunning the English costume dramas for a gritty thriller set in the frozen North. Can she rescue a kidnapped teenager, with only her grit and determination? Directed by Brian Kirk (TV's Day of the Jackal). Go to this episode on rnz.co.nz for more details

In this episode of Convo By Design, I connect with London-based designer Juliette Byrne to explore how refined design adapts to different cultures and markets. From navigating international trade to redefining timeless interiors, Juliette shares how adaptability, craftsmanship, and collaboration drive her studio's continued success across continents. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Design Hardware - A stunning and vast collection of jewelry for the home! TimberTech - Real wood beauty without the upkeep One of the unexpected gifts of the pandemic was the opportunity to connect with remarkable designers around the world from my Los Angeles studio. My conversation with Juliette, principal of her namesake firm in London, highlights just how universal good design can be. We talked about the contrasts between Los Angeles and London—two cities with vastly different scales, materials, and architectural rhythms—and how exceptional design principles translate beautifully in any setting. Juliette described how American brands like Holly Hunt find their place in European homes, and how that exchange of ideas enriches both markets. Our discussion naturally turned to the realities of global design, especially the political and logistical hurdles that come with tariffs and shipping. Juliette shared the challenges of importing products from across Europe and the U.S., explaining how her firm helps clients decide when an imported piece is worth the cost or when local craftsmanship is the smarter choice. Her story about a Dresden project—where customs required a fiber-by-fiber analysis of drapery fabrics—perfectly illustrated the level of complexity designers now face. We explored how design has evolved from an architectural accessory into an independent philosophy rooted in creativity and collaboration. Juliette's optimism stood out to me. She attributes her perspective to a “glass-half-full” mindset and the strong, talented team that supports her. Juliette walked me through her design process, emphasizing her studio's focus on sourcing from a broad network of suppliers rather than producing in-house. She compared interior design to fashion—forever changing, always inspired by color, material, and innovation. Her team's regular visits to Milan and Paris for exhibitions, and Ria's recent trip to New York to meet suppliers, reflect the studio's commitment to staying curious and connected. We also talked about her remarkable project in Dresden, where she transformed an 18th-century merchant's house into an elegant, richly detailed home. Juliette preserved historical carvings and plasterwork while integrating modern amenities like carefully designed lighting and personalized baths. The project earned a major European design award and is now nominated for another in Capri—a testament to her thoughtful approach and respect for craftsmanship. Juliette shared her perspective on kitchen and bath design, where timelessness is key. She favors natural materials—stone, wood, marble—and thoughtful lighting that elevates the everyday. She also noted how generational preferences shape aesthetics: younger clients in areas like Notting Hill often lean into playful colors and bold gestures, while others seek quiet, enduring elegance. Finally, Juliette described a major residential project completed during the pandemic, which demanded creative adaptation to remote collaboration and shifting schedules. Her ability to balance practicality with beauty during that time underscored a central theme of our conversation—design as both necessity and art. This conversation reminded me that design, in its truest form, is a global language. It's about adaptation, discovery, and finding richness in every creative challenge. And you're going to hear it all, right after this. Show Topics Design adaptability between Los Angeles and London Navigating tariffs, customs,

The penny may be gone, but its disappearance is creating waves far bigger than its size. On this episode of Marketing Money Podcast, John and Josh explore how losing the penny impacts spending, the economy, and marketing strategies. From rounding up transactions and injecting billions into commerce to the psychology behind digital payments, they break down what a cashless future means for banks, retailers, and consumers alike. The post Episode 199 | Cents and Sensibility: Big Insights from a Tiny Coin!! appeared first on Marketing Money Podcast.

Happy Thanksgiving! There's nothing like curling up under quilts and blankets by the fire with your loved ones and watching lush period movies in the winter. The delightfully knowledgeable Jane Austen expert, bestselling Jane Austen Society and Bloomsbury Girls author Natalie Jenner, returns to the podcast to discuss the life, work, and history of Jane Austen, and the film adaptations of Sense and Sensibility (1995), Pride & Prejudice (2005), and Emma (2020).Originally Posted on Patreon (11/24/25) here: https://www.patreon.com/posts/144314852Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fi & PayPalTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

Sense and Sensibility by Jane Austen chapter 14, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Colonel Brandon's departure is the talk of the park and mainly Mrs. Jennings for 3 days after his departure. She is certain that something dreadful has befallen him, or that money matters have arisen, or that his sister is ill, or that Miss Williams is in town. Elinor is a little upset about the Colonel's departure but is more so engrossed in the silence of her sister and Willoughby. She wants the two of them to declare their love for each other and engagement. She knows that Willoughby doesn't have enough money yet to support his lifestyle, but believes that they could nonetheless announce their attachment. Willoughby seems really attached to the family. He has almost become a son and brother to the family. He seems to pass all of his time with Marianne, and the family. One week after the Colonel's departure, he overheard Mrs. Dashwood's ideas of improving the cottage in the spring, and he wholeheartedly refused the idea. Marianne and Mrs Dashwood eventually convince him that they shan't change the house if it would cause him harm. Willoughby goes on to flatter the cottage in a way that makes Mrs. Dashwood all but convinced of his engagement to Marianne. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

It's Regency era England. Time to fight some Kaiju. https://9thlevel.com/products/sentai-sensibility https://www.patreon.com/bastardquest https://linktr.ee/bastardquestpodcast https://www.facebook.com/barrelandbondpaducah https://www.norsefoundry.com/

Sense and Sensibility by Jane Austen chapter 13, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSummary:Mr. Willoughby, the girls and the Middleton family are all gathered at the Park to go to Whitwell, but nothing went to plan. Colonel Brandon, who was to be their guide, received a shocking letter, and announced that he needs to leave for town immediately. Mrs. Jennings pries into him and begs to know what the letter says. He divulges no information however and takes leave. The party is greatly upset by their change of plans, and Lord Middleton tries to cheer them up by suggesting they ride in the carriages and have a ball in the evening. While riding, Willoughby, and Marianne snuck off somewhere… At the dinner table, Mrs. Jennings tells Marianne that she knows where she and Willoughby went that day. They apparently went to Willoughby's aunt's house. Elinor later reprimands her sister for this, but understands too, and listens to her sister when she details some of the rooms to her.SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

On today's action-packed show, Sean and Amanda dive deep into the two newest films from one of their favorite filmmakers, Richard Linklater. Before diving in, they react to a handful of movie news headlines, including Tom Cruise's honorary Oscar at the Governors Awards, the new teaser trailer for the live-action ‘Moana' film, and Georgia Oakley's upcoming remake of ‘Sense and Sensibility,' starring Daisy Edgar-Jones (1:14). Then, they discuss ‘Nouvelle Vague' (16:06) and ‘Blue Moon' (28:11) and explain why they found the former to be an interesting exercise and the latter to be one of the best movies of 2025. Later, they break down what makes Ethan Hawke such a great actor and rank their five favorite performances of his career (46:07). Finally, Sean is joined by Hawke and Linklater to explain why 'Blue Moon' was the perfect project for a collaborative reunion, explore how they have evolved as filmmakers and performers over their illustrious careers, and discuss why they feel optimistic about the current state of moviegoing and the challenges both the industry and society face (56:29). Hosts: Sean Fennessey and Amanda Dobbins Guests: Ethan Hawke and Richard Linklater Producer: Jack Sanders Learn more about your ad choices. Visit podcastchoices.com/adchoices

Back for its 37th year, the Fall Festival of Shakespeare includes nearly 500 students from 10 schools in Massachusetts and New York, supported by a cadre of 20 Shakespeare & Company directors, six costume designers, and five production designers.Also, Shakespeare & Company's family-friendly Winter Show returns December 12 – 14th with Sense and Sensibility: a fast-paced, staged reading wherein the wit and romance of Jane Austen's classic tale come to life.

Sense and Sensibility by Jane Austen chapter 12, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:Marianne confides in Elinor that Willoughby has given her a horse. Elinor shuts down the idea, saying that Marianne didn't think this through and didn't think that they would have to build a stable and hire a servant to ride it. Marianne eventually understands and tells this to Willoughby, where he declares that the horse is already hers, and when she is ready to receive it, she can collect it from his estate, whenever that may be. Mrs. Dashwood overheard this conversation and confirms to herself that the two must be engaged. Margret also comes on the following day to Elinor and tells her that she saw Willoughby take a lock of Marianne's hair and put it in his pocketbook. One evening at the Park, Margret was attacked by Mrs. Jennings for the name of the man who owns Elinor's heart, and though Marianne tries to get her sister to be quiet, Margret lets more slip than necessary. Thankfully the conversation is shut down by Lady Middleton, and Willoughby.SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

In this episode of F1RST2KNOW, host Elicia sits down with Scotty Scott, Executive and Artistic Director at Yavapai College Performing Arts Center, to discuss the upcoming stage production of Sense and Sensibility — a fresh, non-musical take on Jane Austen's timeless classic.F1RST2KNOW is part of the CAST11 Podcast Network of Prescott. Check out the podcast network website with ALL the shows at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Sense and Sensibility by Jane Austen chapter 10, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D⁠https://ko-fi.com/theessentialreads⁠⁠https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join⁠Summary:When Marianne was recovered, the private balls at the park began. All of the events taking place were designed to bring Marianne and Willoughby closer. This worked like a treat, and Elinor even ventured to tell her sister that they should not be so overtly attached, but this is dismissed by the two of them. They spent every evening together, to the delight and humour of everyone else, causing Marianne to soon become content with her new life away from Norland.Elinor, however, is enjoying Barton far less. She is feeling alone, and in want of real conversation. Mrs. Jennings, and Lady Middleton, are not great conversationalists. Colonel Brandon is the only person with whom she can converse freely, but he is sadly still attached to Marianne… Elinor starts to suspect that he has previously been hurt in love, and she starts to sympathize with him. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Sense and Sensibility by Jane Austen chapter 10, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSummary:Margrett has started teasing Marianne about Willoughby, and the man now visits Marianne every day. Marianne is very pretty and has seems to have captured the heart of Willoughby already. They spend so much time talking together, and seem to agree on almost every point, so much so that they soon start to speak informally to each other. Elinor teases Marianne, that they will soon have exhausted every topic of conversation. Willoughby is everything that Marianne has ever wanted in a man, and Mrs. Dashwood starts to believe that Willoughby will soon propose to her daughter. Elinor, at the Park, starts to pity Colonel Brandon, and after some hints at past slights, she starts to talk to him kindly, regardless of the jests from Willoughby and Marianne. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Sense and Sensibility by Jane Austen chapter 9, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSummary:The Dashwood women are now fully settled in Barton. Sir John Middleton called on them every day for the first fortnight and urged them to mix with the people in the area. The girls go on many walks and have fallen in love with the country about them. One morning, Margret and Marianne, in spite of the rain, go on a walk together on the hills. Though the clouds were originally keeping away from their path, they soon closed in on top of them and showered their heads. The girls decided to run back to the cottage, but Marianne tripped and fell down the hill. A gentleman was walking nearby and came to her assistance and carried her down the hill to Barton cottage. The man exchanged some polite pleasantries with the family and then left. In the afternoon, Sir John Middleton came by, and the girls flooded him with questions about the handsome stranger, called Willoughby. Sir John seemed to be shocked that he was in the area but went on to explain that no better man existed, and after mentioning that he danced all night at a ball held last year, Marianne became attached. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

Send us a textWe're diving deep into the heart of modern rom-coms, Nerds! ✨ The brilliant Nikki Payne joins us to talk about her newest release, The Princess and the P.I., along with Pride and Protest and Sex, Lies and Sensibility.We chat all things love, laughter, and representation — from Jane Austen inspirations to why diversity and fresh perspectives make today's romances shine. It's funny, thoughtful, and full of the Fiction Fanatics energy you know and love.

Sense and Sensibility by Jane Austen chapter 8, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSummary:At Sir John Middleton's, Mrs. Jennings, the mother of Lady Middleton, wishes to set the girls up with men. She determines that Colonel Brandon has fallen for Marianne, and says that the match would be good, as he is rich, and she is beautiful. Marianne thinks that this idea is a joke, and feels nothing for him, and just believes him to be an old man. Mrs. Dashwood jokes that Colonel Brandon is only 5 years younger than herself, and that does not make him an old man, but she does understand what he daughter is feeling about the Colonel. Following this conversation, Marianne talks to her mother about he fears that Edward Ferras must be ill as he hasn't visited them yet. And though Elinor hasn't mentioned the man, Marianne feels like her sister must miss him terribly. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

October 30, 1811. After a long struggle to find a publisher, Jane Austen's Sense and Sensibility is released. This episode originally aired in 2024.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sense and Sensibility by Jane Austen chapter 7 , narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSummary:Barton house is not too far from the cottage, and the Ladies head there to be properly welcomed to the area by their new Landlord and Lady. The Middleton's always seem to have company and almost seem to need the company of others. Sir Middleton, hunts, and the Lady takes care of, and spoils their children. Sir Middleton, in the summer, always gets the local boys together to eat and hunt, and in the Winter, holds balls for all of the local ladies. When the ladies arrive, Sir Middleton welcomes them and takes them to the living room. They meet an old friend of Lord Middleton's, Colonel Brandon, and Mrs. Jennings, Lady Middleton's mother. The colonel is on the wrong side of 35, but his is sensible and gentlemanly. Once they get on the topic of Music, Marianne is invited to play Piano, and she charms everyone with her abilities. SEO stuff I don't want to do. Jane Austin's timeless classic Sense and Sensibility follows the story of two girls, Elinor and Marianne Dashwood, and their endeavors in love, marriage, and societal expectations. Love is not easy however, and Elinor finds her sense tested by her charming brother-in-law, while Marianne's sensibility brings her nothing but heartbreak.

George IV's impressive Library included all the novels of Jane Austen, for whom he had a particular fondness. But what was not known (until a receipt was discovered in the Royal Archives in 2018) was that the Prince Regent had almost certainly been Austen's very first customer - buying a copy of ‘Sense and Sensibility' for 15 shillings on 28th October, 1811. His admiration for the anonymous 35 year-old author's work lead to an awkward moment later in her career, when she felt obligated to dedicate ‘Emma' to His Royal Highness - a task she clearly wished to avoid. In this episode, Arion, Olly and Rebecca explain why Austen detested her royal patron; reveal the dry first draft of her dedication to him; and consider how the famously promiscuous, indulgent monarch could have so badly misread Austen's manifesto for moderation… Further Reading • ‘One of Jane Austen's earliest buyers revealed as Prince Regent – who she 'hated'' (The Guardian, 2018): https://www.theguardian.com/books/2018/jul/25/jane-austen-buyer-hated-prince-regent-sense-and-sensibility • ‘Jane Austen's First Buyer? Probably a Prince She Hated' (The New York Times, 2018): https://www.nytimes.com/2018/07/24/books/jane-austen-prince-regent.html • ‘JANE AUSTEN, PRINCE REGENT & SANDITON' - excerpt from “Elegance and Decadence: The Age of the Regency” (BBC, 2011): https://www.youtube.com/watch?v=FzrlpIjwKv0 This episode first aired in 2021 Love the show? Support us!  Join 

In this year's showdown, we're pitting two of Austen's most calculating women against each other Elizabeth Elliot from Persuasion and Fanny Dashwood from Sense and Sensibility. Both are masters of manipulation and self-interest, but in very different ways.Elizabeth Elliot, ever-conscious of appearances, rules her social circle with icy elegance, dismissing anyone she deems beneath her while clinging to the illusion of superiority. Fanny Dashwood, meanwhile, is ruthless in her pursuit of wealth and comfort, quickly convincing her husband to cheat his half-sisters out of their inheritance and doing so with a smile.As we dig into their stories, we'll explore what drives these women: is it greed, pride, or pure vanity? And when it comes to cruelty cloaked in civility, who truly reigns supreme?Join us as we compare their motives, methods, and misdeeds and help decide who will claim this year's crown as the Ultimate Jane Austen Villain.Where can you find Ellis?Instagram: @historian_ellisWhere can you find Caily?Instagram: @half_agony_half_hopeWhere can you find your host, Izzy?

A sermon from Andy Cantrell. No text available. The post Glory of Sensibility and Good Deeds appeared first on Biblical Truths from West Palm Beach church of Christ.

Greg Jenner is joined in Regency England by historian Dr Lucy Worsley and actor Sally Phillips to learn all about the life and works of literary legend Jane Austen on the 250th anniversary of her birth in December 1775. It is a truth universally acknowledged that Austen is one of England's best-loved authors, and the creator of such indelible characters as Elizabeth Bennet, Mr Darcy, Emma Woodhouse and Elinor and Marianne Dashwood. Whether you have read one of her six books – Pride and Prejudice, Sense and Sensibility, Persuasion, Emma, Northanger Abbey and Mansfield Park – or seen one of the many adaptations, most of us have some experience with Austen. But her life story and how it influenced her writing is perhaps less well-known. This episode explores her early life as the daughter of a rural clergyman, takes a peek inside the books a teenage Jane was reading, and delves into her romantic and familial relationships to see what shaped Austen into the formidable literary talent she was. And it asks a key question: was Jane Austen, who wrote such wonderful women characters, a feminist? If you're a fan of iconic authors, Regency romances and women succeeding in a man's world, you'll love our episode on Jane Austen. If you want more incredible women authors with Dr Lucy Worsley, check out our episode on Agatha Christie. For more from Sally Phillips, listen to our episode on Fairy Tales. And for more Regency romance, there's our episode on Georgian Courtship. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Clara Chamberlain and Charlotte Emily Edgeshaw Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Ben Hollands Senior Producer: Emma Nagouse Executive Editor: Philip Sellars

Shakespeare's plays are filled with unforgettable women—but too often, their voices are cut short. Ophelia never gets to defend herself. Gertrude never explains her choices. Lady Anne surrenders to Richard III in silence. In her new book, She Speaks: What Shakespeare's Women Might Have Said, acclaimed actor Dame Harriet Walter imagines what those characters might tell us if given the chance. Through original poems, Walter reimagines moments of silence, expands on fleeting lines, and provides depth to women who were left without a final word. Walter invites us to see Shakespeare's plays in a new light—reconsidering how we understand his female characters, and how their voices might transform the stories we thought we knew. From the Shakespeare Unlimited podcast. Published October 7, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc. Dame Harriet Walter, DBE, is one of Britain's most esteemed Shakespearean actors, whose roles include Ophelia, Viola, Lady Macbeth, Cleopatra, Brutus, King Henry IV, and Prospero, among others.. She has received a Laurence Olivier Award, as well as numerous nominations, including a Tony Award nomination, three Primetime Emmy Awards, and a Screen Actors Guild Award. Walter is also well-known for her appearances in Sense and Sensibility, Atonement, Downton Abbey, The Crown, Succession, Killing Eve, and Ted Lasso, among many other notable projects. In 2011, she was appointed Dame Commander of the Order of the British Empire (DBE) for services to drama.