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• W306775144 abstract "PERHAPS ONE OF THE MOST FAMOUS LINES in Jane Austen's canon is the compliment paid to Elizabeth Bennet when Fitzwilliam Darcy responds to the prying questions of Miss Bingley: 'I have been meditating on the very great pleasure which a pair of fine in the face of a pretty can bestow' (PP in subsequent times, his portrayal of feminine beauty became authoritative (Diana 95). According to Vickers, this portrayal influenced not only male writers following in Petrarch's pattern of sonnet adulation, but female writers as well, particularly in Petrarch's representation of Laura not as a single, unified image, but in terms of or of a woman (Diana 96). As Vickers describes the strategy, image is that of a collection of exquisitely beautiful dissociated objects. Singled out among them are hair, hand, foot, and eyes (Diana 96). This fragmentation of feminine charms was further extended in early modern literature in the blazon, in England a poetic tradition of a collection of poems or a single poetic catalog which describes the beloved in terms of rather than as a whole person (Vickers Blazon 95). While critics may rightly suggest that all description is essentially a process by which a whole picture is built up of fragments, since the writer can only describe a subject by enumerating the essential qualities that constitute that object, the Petrarchan convention creates a special moment of synecdoche which gives the observer a power over the observed through the reduction of that individual into a specific, isolated part selected by and often obsessively elaborated by the writer. Since from medieval and early modern times, the person using the convention was most frequently the male lover or lover-poet, in a sense, the division and description of the subject of that poetic attention defined a kind of ownership, an empowerment at the expense of the one being described (Jankowski 83). However, the same Petrarchan convention was capable of critique and satire on the part of poets, most notably in Shakespeare's famous Sonnet 130, which begins with the well-known line My mistress' are nothing like the sun (Shakespeare 1867). Given that kind of critique at least as early as the sixteenth century, it is not surprising that Jane Austen, with her exacting wit and precise literary construction, is able to make the blazon work in multiple ways, both to express the admiration (as yet unknown in its depth to the speaker) of such an eligible lover as Darcy and in her letters, to turn the convention upside down by blazoning individuals for the amusement of her major correspondent, Cassandra. Anita G. Gorman has rightly noted that Austen is often reticent in describing the physical in her novels, the early writings more physical and exuberant than her mature ones (131). Gorman identifies those body parts most usually mentioned as similar to those of the blazon--eyes, brow, lips, hair, complexion, and figure (131). …" @default.
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• W306775144 date "2005-01-01" @default.
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• W306775144 title "Fragment and Focus: Jane Austen and the Art of the Blazon" @default.
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