A Quote by Ronald Blythe

Jane Austen can in fact get more drama out of morality than most other writers can get from shipwreck, battle, murder, or mayhem. — © Ronald Blythe
Jane Austen can in fact get more drama out of morality than most other writers can get from shipwreck, battle, murder, or mayhem.
I once rented the Georgian town house that Jane Austen lived in down by the Holburne Museum - so I lived in Jane Austen's house, and slept in Jane Austen's bedroom. You can walk along these Georgian streets and it's like you're in a Jane Austen period drama.
And I love Jane Austen's use of language too--the way she takes her time to develop a phrase and gives it room to grow, so that these clever, complex statements form slowly and then bloom in my mind. Beethoven does the same thing with his cadence and phrasing and structure. It's a fact: Jane Austen is musical. And so's Yeats. And Wordsworth. All the great writers are musical.
It seems the more I play Jane Austen, the more poetic my writing becomes. The other day, I left a Post-it note for my husband that had the word 'ergo' on it. I gotta rein it in before I get all full out Madonnannoying.
It's not all 'Jane Eyre' out there. In her sweet, honorable, slightly passive-aggressive way, Jane was as perfect as a protagonist can get while remaining interesting; in fact, she's one of my favorites. But most characters are more morally ambiguous.
I'm totally in love with Jane Austen and have always been in love with Jane Austen. I did my dissertation at university on black people in eighteenth-century Britain - so I'd love to do a Jane Austen-esque film but with black people.
I am a Jane Austenite, and therefore slightly imbecile about Jane Austen. My fatuous expression, and airs of personal immunity-how ill they sit on the face, say,of a Stevensonian! But Jane Austen is so different. She is my favourite author! I read and reread, the mouth open and the mind closed. Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers.
'Pride and Prejudice' - perhaps more than any other Jane Austen book - is engrained in our literary consciousness.
Pride and Prejudice' - perhaps more than any other Jane Austen book - is engrained in our literary consciousness.
I've been fortunate in that I never actually read any Jane Austen until I was thirty, thus sparing myself several decades of the unhappiness of having no new Jane Austen novels to read.
I actually didn't like Jane Austen. I was more into the Brontes. They were so wild and passionate. I thought there was something a bit tame about Austen.
The difficulty with poetry is that it doesn't have the life that Shakespeare or Jane Austen have beyond the page. You can't make a costume drama out of it. There's no place for it to go except trapped inside its little book.
Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at Antony and Cleopatra; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare.
One doesn't read Jane Austen; one re-reads Jane Austen.
The ideal situation would be to bypass all of the drama and mayhem and just get the music right to the people. I'm confident that we'll eventually figure it out.
I remember, when I was a teenager, 'Pride And Prejudice' came out. We hadn't had a period drama for ages, and were all glued to it, and for the next three years, Jane Austen series were being made.
There would be more genuine rejoicing at the discovery of a complete new novel by Jane Austen than any other literary discovery, short of a new major play by Shakespeare.
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