On D.W. Harding’s “Regulated Hatred”

In his critical essay, “Regulated Hatred,” D.W. Harding discusses Jane Austen’s Pride and Prejudice in terms of popular opinion. He states that the novel’s reputation often precludes what would be its most avid fans from reading it. As Austen herself was a part of the society she satirizes, Harding contends that many—including himself initially—unfairly consider her work a weak in its criticism in that she would be afraid of angering her peers. Contrarily, her work, though enjoyed by her peers, is strong enough in its condemnation to undermine the society it portrays. In this way, Harding’s idea of regulated hatred in Pride and Prejudice refers to her manner of balancing her criticism in order to make it accessible to a wider reading audience. She so artfully hides her criticism so that a “comfortable” reader would enjoy the novel for nothing more than its face value—or as an escapist novel—by deliberately misreading at several points.

Similarly, Austen masterfully criticizes society while making her own reader feel disconnected. This technique allows a reader who may be steeped in the society to recognize the problems within the novel without becoming offended or defensive. To accomplish this end, Austen creates characters that are caricatures of different behaviors in her own society. For example, Mrs. Bennett is easy to detest. A reader will almost never care about her, let alone identify with her. With this distance, Austen’s condemnation of women who behave in a similar manner to Mrs. Bennett is easy to understand. If many identified with Mrs. Bennett, a strong backlash would occur in this situation, and the message would have been thoroughly lost. Mr. Collins and Lady Catherine de Bourgh are likewise made to be caricatures. Harding believes that Elizabeth alone is only a portrait. Darcy, however, is close to being a real portrayal of a person, and in this way he becomes her equal in the novel. The foil between characters like Mr. Collins and characters like Elizabeth serve to further the readers’ identification with Elizabeth and ability to accept criticism of other characters.

Savage

The pronunciation of the word savage implies the word’s meaning. While it sounds rough on your tongue—practically forcing you to bite your lip in the process—it holds an almost musical quality that makes you want to say it again. Similarly, of the many definitions of the word savage, all bring about the idea of something ferocious, but by choosing to describe something brutal with such a word romanticizes it. The word harks back to a time when explorers encountered and tamed savages in their quests for riches or eternal youth. The time when the new world held exciting mysteries and secrets and many were not carful with their actions, a time now glamorized. Savagery implies horrible acts, atrocities against innocents, and deviations from societal norms. While these definitions do not always seem to fit together, all refer to things that engross human attention in their fascinating wickedness.
I chose to research the word savage because I find it interesting that the horrors the word can connote are a fascinating taboo to so many. I also just liked how it sounded. I am sure both of those ideas came out in the paragraph above. When I think of the word savage, the idea of the historical “savages” comes to mind. Knowing that this word thus had deep routes in our language and pass, I wanted to find out what it exactly means.

Main Points of Christopher Small's "[Percy] Shelley and Frankenstein"

The article contends that the two people who were most crucial in influencing Mary Shelley to write and shape Frankenstein were Lord Byron and Percy Shelley.

• Byron suggested the game of writing a "ghost story" that started her on the path; conversations about "the principle of life" piqued her interest
• Shelley encouraged her to keep expanding the novel, even when she decided to finish it after only a few pages; both always contends that Shelley in no way gave any ideas--in fact, he was out of town when most of the writing occurred--but only proof read final drafts
• Frankenstein based off of husband--Shelley often assumed Victor as a pen name/obsessed with word victory, Frankenstein's characteristics similar to the ideal version of Shelley, both governed by "vehement passions," both had ideal upbringings (though this is perhaps a "compensation for some of Mary's deprivations as a child") that focused on learning rather than childish pursuits
• Frankenstein's familial similarities and differences compared to Shelley's life--Elizabeth was the name of Shelley's mom and favorite sister, though the kind father is the opposite of Shelley's harsh father, but a similar character appeared in most of Shelley's works
• Shelley's "passion to learn the secrets of heaven and earth" is reflected in Frankenstein

Sir Gawain and the Disillusioned Knight: Working on the Knight Moves

Though Sir Gawain may not obviously have much in common with the fictional character who has come to represent the quintessence of teenage angst in the modern world, Holden Caulfield and Sir Gawain actually face a similar struggle. Regarding what is the appropriate way to behave with women, both go just to the edge of what they see as moral and choose to remain pure, despite their desire to do otherwise.

In Sir Gawain and the Green Knight, the lady of the castle acts as a temptress, continuing to woo Gawain despite his attempt to reject her advances. Though he clearly finds her attractive and almost succumbs to her wishes, Gawain is bound to a strict code of chivalry and chooses to do what he views as morally correct. He is caught between a rock and a hard place, as he does not want to offend the Lady, but he also will not compromise the Lord’s trust. Gawain walks that line by granting her a kiss when directly asked, though refusing any further relation. It is clear, however, that kissing was an acceptable form of interaction to an extent during the time of Sir Gawain, while it is not as normal to kiss a married person today. It seems as though refusing a kiss from a lady is less morally correct than granting it, despite her marriage to another. Gawain substantiates this by saying, “I shall kiss at your command, as becomes a knight.” Though Gawain struggles with temptation, he ultimately is slightly tarnished but forgiven, as he could have succumbed more than he did.

Though the world is more realistic and discourteous in The Catcher in the Rye, the protagonist is in many ways a disillusioned hero. Holden talks and acts as though he were as corrupted as the world around him. But, when placed in a situation of temptation, he chooses to remain innocent, though he would never say so. The scene in which Holden is alone in the room with the prostitute named Sunny is most relatable the scene in Sir Gawain between the Lady and Gawain. Like the Lady, Sunny represents temptation. Though, for Sunny, it is professional, which actually turns Holden off as he realizes that for her sex is not a choice, but a livelihood. Holden thinks that he wants to become an adult and that a path to do so is through sex. The fact that he hires a prostitute is his tiptoeing of the line of what he knows is inappropriate, but he chooses to only talk with Sunny and remain pure. Despite the fact that, as the story is obviously modern, it is not directly stated, Holden’s aim is to act courteously. Both Gawain and Holden struggle to do the right thing in the face of temptation and though both succumb to an extent, they make the right choice. The major difference is that in Holden’s world, his anachronistic chivalry results in his disillusionment and ultimate confinement.

The similarities between how Sir Gawain interacts with the Lady of the Castle and how Holden interacts with Sunny highlight several similarities between the modern and romantic worlds. Audiences from both periods value chivalry and purity as heroic qualities, but find temptation to be entertaining. But the differences in the worlds of the stories show how much has changed in the past six centuries.

Anglo-Saxon Clothing and Jewelry

While almost no Anglo-Saxon clothing has survived to the present day, a rich collection of jewelry has survived to the present. Despite the paucity of clothing or depictions of clothing from this period, scholars infer the dress of the time based off of the clothes of related areas and description in text, such as in Beowulf. Similar to Germanic dress, Anglo-Saxon men probably wore a cloak made of fur or skin and decorated according to their wealth or social status. This idea is evidenced by the fact that there are many different words that explain outer garments. Men also donned tunic shirts, belted in the middle. Many also believed a form of lederhosen or garters were worn, as some have been found in archeological excavations. Women wore peplos dresses and more jewelry than men. They also sometimes wore cloaks, and usually wore a leather belt. Anglo-Saxon shoes were normally open-toed and leather. Jewelry was prevalent, especially with gems and gold. People often equated metal or stones with religious ideas. For example, some thought red gems corresponded to Christ’s blood.

Summer Reading: The Picture of Dorian Gray by Oscar Wilde

For my summer reading, I chose to read Oscar Wilde's The Picture of Dorian Gray. Throughout my life, I had heard my family discussing the tale and knew the basic plot of the story; thus, I was excited to form my own opinions on the novel and join the dinner-table discussions. I found that I greatly enjoyed the story due to several types of excellent storytelling, such as complex characters, unpredictability, and audience engagement, or a moral worth thinking about.

The characters in the novel are multifaceted, riddled with incongruities, and thus, fascinating. Every character has redeeming qualities, though all also have their flaws. Dorian Gray, for example, struggles periodically between good and evil, and I was able to empathize with his plight to an extent because I understood the circumstances that shaped him; however, I also condemned much of his behavior because I knew the possibility of what he could be. This complexity made Dorian an interesting character, who in some ways I could relate to on the basis of understanding. Lord Henry, too, is a multi-faceted character. While he preaches sin and corrupts young Dorian, Wilde never actually discusses the evils he does. This piqued my interest and made me wonder if the evils he does are more influential and vicarious through Dorian or if he actually is doing anything himself. I tend to believe that he is not because he believes he can’t as he is no longer “youth.”

One trait I particularly liked about the novel was its unpredictability. Even knowing the basic plot, I was surprised at many points. When I read James Vane’s promise to kill “Prince Charming” if he ever hurt his sister, I was expecting the rest of the book to unfold in a typical pattern. I was not surprised in the slightest when as a drunken sailor he meets and threatens Dorian at the opium den. However, when Vane ultimately dies without finishing his quest to kill Dorian, I was legitimately shocked, as I had seen the whole book through the lens of postponing what I thought was the inevitable murder. I was pleased to find out that I had been wrong about the ending, as it showed unpredictability, which I consider a crucial element of good story telling.

While reading the novel, I often felt as though I was reading something taboo at certain times. So when Wilde writes about Dorian’s reading of a “poisonous book” that exposes him to all sorts of sins, I was drawn deeper into the book, comparing my reading to Dorian’s. Similarly, as some of the beliefs expressed by Lord Henry—and to some extend Dorian as well—about sin and human nature were so grossly against mine, I found the novel to be fascinating in its divergence from ethical norms. Lord Henry resolutely upholds vices that are shunned in society, and Wilde’s monologues were so well done that they nearly convinced me, as the reader, to believe the different moral code. The tough questions that the novel pose—about the value of beauty versus substance, intellect versus art, the picture versus real life, and moral versus evil—have left me ruminating about what I believe since I finished the book, and have left room for vast conversations at the dinner table.

Ten Memorable Books

As a voracious reader, it is hard for me to ever select a "favorite" book. The closest I can do is a top ten most memorable, and they are the following:

1. The Shadow of the Wind by Carlos Ruiz Zafón. I first read this book in my early teens and was fascinated by Zafón's ability to combine mystery, romance, intrigue, action, and suspense in one novel. I literally gasped out loud at several parts. The book was originally written in English, and I am now attempting to work through the Spanish version.

2. Bel Canto by Anne Patchet. This book exemplifies fantastic character development. Patchet masterfully humanizes characters on both sides of a conflict, which allowed me to empathize with hostage and terrorist alike. I still often ponder the complex relationships between the characters.

3. Betsy and Tacy Series by Maude Hart Lovelace. Though I read this series from when I was about 7 or 8 years old, the series has resonated with me since. The story taught me many of the moral lessons, particularly regarding friendship, that I will carry with me throughout my life.

4. The Dante Club by Matthew Pearl. While I have always enjoyed historical fiction, the act of contextualizing my ID book in its time period and delving deeply into its content was a particularly memorable experience. I am one of the proud few who can truly say I still enjoy my book, even after writing a 29 page paper. This novel also furthered my interest in Henry Wadsworth Longfellow, a main character of the novel.

5. Lolita by Vladimir Nabokov. Scandalized and intrigued, I first read Lolita at an age not much older than the book's namesake. For me, a novel with such an appalling, yet interesting subject matter has been impossible to forget.

6. Murder on the Orient Express by Agatha Christie. My first Agatha Christie, the novel ushered me into the world of Hercule Poroit and Ms. Marple. The book demanded my participation as I too tried to determine the murderer(s).

7. Harry Potter and the Half-Blood Prince by J.K. Rowling. I tried to avoid putting an HP book on this list, but alas, I had to succumb. My favorite is the one that many people disparage as the worst! True, this novel does not have as much action as others. However, I enjoy the well-written, thought-out details of everyday life at Hogwarts. Whenever I need to relax or find comfort, I open the book to a random page and start reading.

8. Bollywood Boy by Justine Hardy. This informative novel on the inner workings of Bollywood and, in particular, one journalist's experience with Hrithik Roshan peaked my interest in film (and literature) as a means of manifesting cultural values. It also solidified my love of Bollywood and my pride in knowing the names of the biggest stars.

9. The History of Love by Nicole Krauss. This novel touched me profoundly emotionally. I am someone who struggles with hearing about a person's hardships, and Leo's situation made me sympathize deeply.

10. Middlesex by Jeffrey Eugenides. I enjoy longer books because they allow for more room to explain background information. For me, that is one of the strengths of this novel. I enjoyed understanding the scenario and scene setting of the "current" part of the novel so thoroughly. I also think that Eugenides does an excellent job at portraying the emotional subject in a believable way.