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Tag Archives: Pride and Prejudice

On my trip back to England last week to visit the old man who is not a tree (renamed the Retired Admiral because of his luxuriant white beard) I also visited Basildon Park near Reading. It’s the house that was used as Netherfield in the 2005 Pride & Prejudice.

The house was designed by architect John Carr for a rich nabob, Francis Sykes–apparently Berkshire, close to London, was a favorite retirement spot for those who had made their fortunes in India. It changed hands several times for the next century and a half, narrowly escaping demolition and development in the early twentieth century. At one point it was offered to the American market, as a house to be dismantled and erected across the Atlantic, but 1929 probably wasn’t the best year for such an offer. The house was taken over by the military during World War II. Consequently it was fairly messed up when Lord and Lady Iliffe acquired it in 1951 and set to restoring it. You can see what a beautiful house it now is by checking out the photo gallery (copyrighted material so I’m leaving it alone).

Here’s the outside of the house. I’m lurking in the shade under the tree (and my brother forgot to set the butt filter, as you can see).

There’s a whole exhibit dedicated to what they had to do to prepare the house for filming P&P–fragile carpets were rolled and removed from the first (that’s second to you Americans) floor by forklift and great pains were taken to protect the house’s delicate features. The furniture was made specially for the movie.

So how authentic is the house inside? I was a bit disappointed, to be honest. Lady Iliffe, who we heard a lot about–she died only a year or so ago, and lived on the premises while the National Trust maintained the house–decorated the house to her taste. Altogether it’s a bit of a mish-mash of style. The Oxagon Drawing Room, for instance, has a Victorian ceiling, and Lady Iliffe, with the help of her cook, lined the walls with red felt to show off her paintings better–and of course colors like Pompeian red would have been very fashionable. But underneath the red felt is the blue green color that Georgians also loved. To give her credit, Lady Iliffe plundered other houses designed by Carr, going on expeditions to Yorkshire, where most of his work is, and loading a truck with doors and fireplaces.

Here are some more views of the exterior. As you can see it was a gorgeous sunny day.

The statues are of Alcibiades’s dog, and, according to my brother, the goddess of leprosy.

Naturally after a stroll through the house and garden we had to have afternoon tea. I had Victoria sponge and my brother had chocolate cake. That’s my arm in the pic. My brother was also very anxious that his shot of the toilets be included (in the stable block) so here they are.


And what else did I do over there? I’m happy to announce that I did get to Sir John Soane’s Museum–cleaning that place must be a nightmare–met with my editor, took a tour of Shakespeare’s Globe and saw part of a rehearsal of Midsummer Night’s Dream, and visited St. Paul’s where Wellington is buried, and heard the choir at Evensong. We also had a trip to Bristol, one of my favorite places.

What have you been doing this week?

I’m blogging today at the Wet Noodle Posse on how to research historical costume–come on over and take a look!

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It is a truth universally acknowledged, that a character in possession of a good motto, must be in want of Conflict.

Pop over to the Wet Noodle Posse blog today. Superromance author Susan Gable is discussing how writing a character’s motto can help in creating conflict. I thought it would be fun to write the mottos of some of Jane Austen’s characters:

From Sense and Sensibility:
Elinor: Do what must be done and keep your emotions to yourself.
Edward: A man must honor his promises.
Marianne: We are nothing without feelings.
Willoughby: We are nothing without fortune.

From Emma:

Emma: The course of true love needs my help
Mr. Knightly: People must be understood for who they are.
Harriet: My course of true love needs Emma’s help
Frank Churchill: Be charming and witty on the outside, manipulative and selfish on the inside.
Jane Fairfax: I can be manipulated.

Pride & Prejudice:
Lizzie: My good opinion is formed quickly.
Darcy: My good opinion is rarely given
Jane: My good opinion is given to everybody
Bingley: My good opinion is given to everybody unless Darcy says differently

Do you like this idea of character mottos? It is one I think I can do!
Try it on your characters…or on Jane Austen’s.

Don’t forget to vote in our tagline contest. Details here.

Also pay a visit to the Romance Vagabonds. They are having an entire week focusing on Harlequin Historicals with lots of authors participating, lots of prizes, and a blog by editor Joanne Carr on Friday.

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Bedchamber with a young Mr. and Mrs. Bennett in four poster bed. Zoom in on bare breasts.
Mrs. Bennett: Yes, yes!
Fade Scene as above.
Mr. Bennett: Yes, yes!
Fade Scene as above.
Concerned bystander (stepping in front of camera): I don’t think the book starts like this.
Director: Of course it doesn’t. Get him out, someone. Okay, we’ve had Jane and Lizzy’s conceptions, who’s next?

*******

Shot of countryside. A group of young women walk across the landscape. Repeat.

*******
Grounds of Pemberly. Pond. Matthew McFadyen emerges wearing wet shirt.

**********

Upstairs, the Bennett’s house. Jane dressing for the ball.
Jane: Does this make my butt look big?
Zoom in on her almost naked breasts.
Elizabeth enters carrying a large basket of out of season flowers. She smiles knowingly.

*******
Shot of countryside in rain. A group of young women walk across the landscape.

*******
Grounds of Pemberly. Pond. Colin Firth emerges wearing wet shirt.

*******

Bennett’s garden. Unspecified number of young women run across the lawn.

*********

Grounds of Pemberly. Pond. Large male pig wallows.

********

Bedchamber. Bedchamber with Lydia and Wickham in four poster bed. Zoom in on bare breasts. Mr. Darcy enters. He glowers.

********

Grounds of Pemberly. Pond. Laurence Olivier emerges wearing wet shirt in black and white.

*******

Bedchamber with Lizzie and Mr. Darcy in four poster bed. Zoom in on bare breasts.

******

The Bennett sisters, topless, walk across a grassy meadow.
Director (stepping in front of camera): What the hell’s this?

BBC Official: Regulations, gov. You haven’t met the official BBC bare breasts quota.

Director: Oh, that’s okay then. Action!

Let us know what silly things you’ve done today, and vote for Rules of Gentility in AAR’s Annual Reader Poll –it’s in the Favorite Funny category.

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Folks who’ve been reading this blog for a while know that I love to talk about covers…


What’s good, what’s bad, what we like, what we don’t like…

What we think enhances the experience of the book, or hurts it…

And whether it’s even possible for a bad cover to diminish one’s reading experience…

Here are a whole bunch of different Pride and Prejudice covers.

(I found them on a neat website, http://www.fantasticfiction.co.uk, which has a lot of fascinating stuff on it.)

Which covers do you like? Which is your favorite? Why?

Which do you hate? Which do you think is the very worst? (And why?)

Do you think any of these covers are good enough or bad enough to change a person’s reading experience one iota?

All comments welcome!

And remember — next Tuesday (always the first Tuesday of the month!) is our JANE AUSTEN MOVIE CLUB. Stop by to discuss the Colin Firth/Jennifer Ehle version of Pride and Prejudice!

Cara
Cara King, author of My Lady Gamester, who can’t always think up something clever to say in her sig line

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“In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.”… His sense of her inferiority — of its being a degradation — of the family obstacles which judgment had always opposed to inclination, were dwelt on with a warmth which seemed due to the consequence he was wounding, but was very unlikely to recommend his suit.

Darcy’s proposal to Elizabeth and although Jane Austen did not write romance, either by the standards of her time or ours, it has, I think the essence of what makes a romance work: that falling in love with this particular person is the worst possible thing that could happen. Love destroys and creates chaos; you can’t help yourself; you are powerless and there is no twelve-step group that can possibly help.

I’ve always been fascinated by classical legends that have randy gods taking on nonhuman forms to seduce hapless mortals. Why bother with the disguise?–you’re a god, right? But is the disguise, other than the frisson of assuming another form, part of the divine insanity of love? I couldn’t help it, I was a swan with a brain the size of a walnut … One look at his lovely orange beak, that’s all it took …

My heroes and heroines find that their careful, sensible plans are overturned and their moral code and sense go out the window when they fall in love. Love = trouble, conflict, and after many adventures (a very useful phrase for synopses, by the way), acceptance of love and of each other.

What’s your definition of love in romance? Is it all you need?

Sign up for the Riskies newsletter at riskies@yahoo.com for advice on dealing with amorous waterfowl, with NEWSLETTER in the subject line.

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