~The work is rather too light, and bright, and sparkling; it wants shade; it wants … a long chapter of sense … [or] something unconnected with the story … anything that would form a contrast and bring the reader with increased delight to the playfulness and epigrammatism of the general style.~ Jane Austen
“Elizabeth is a lady.”
The words ring through my head. A lady. She dashes through the fields and arrives muddy and unkempt, yet she remains a lady.
When the bell rings for class, you can hear the students’ groans. Not mine, though. Mrs Cohen is a good teacher, I think, but you could fall asleep to her voice. Her monotone buzzes through the classroom like those oblong fluorescent lights switched on. It’s my first year studying with her, and we have started off with a book that has captivated me – because of Eliza the lady – and in the years to come it evolves into more than a classic as it accompanies me through life and takes to the cinema and TV screens.
One day the class is presented with “Light and Bright and Sparkling” – the title, she announces, of our first essay assignment. I have no idea what to do; I hardly understand what it means, and if I don’t know what it means, how are some of the other students going to fare in this essay? A day or two of brooding over the assignment go by and then a sudden flash lights up my mind. The library! For some, an obvious solution, to others – genius. Might our school library, crammed with a wealth of magnificent books, hold the key to this bright and sparkling mystery?
The library building stands alone between the middle school situated higher on the hill, and the high school lower down. When I was in middle school, I would regularly see Mrs McKinley, the school librarian, and her daughter at music eisteddfods, until one day – “Alice will be taking up the oboe. Since it’s not a very popular instrument, there won’t be as much competition to be accepted by the orchestra.” So that was the last I saw of Alice. By the time I reach high school, Mrs McKinley has left the school and now Gerard has taken her place. He has a cat and has hung up a collage of cat photos on the library wall to the left of the doorway, as you enter – a large assemblage of intense oranges interspersed with black.
I have no idea how I land myself in this particular aisle; I must have searched through the catalogue cards. Melville Dewey. But I find myself standing opposite tall shelves packed full with books, hoping for some redeeming sign to appear. And then it catches my eye. A book of essays; something about Jane Austen. I draw it out and skim the contents. And there, on that elaborate list, I can’t believe what I’m seeing. An essay called “Light and Bright and Sparkling,” the same as our assignment. Is Mrs Cohen trying to compare the class with an academic elite? Will she be sitting with this book opened in front of her, laughing as she compares our feeble attempts with his? If I were the only person in the history of the school to have taken out this book, I would not be surprised.
At home, I organise my desk and begin to write. I lift all the ideas out of the essay and place them shakily in the body of my assignment, making sure to add my individual touches.
Mrs Cohen gives me a good grade. I think she is pleased.
And then comes the turning point, the class when Elizabeth is a lady. I am sleepy from Mrs Cohen’s voice, yet her description of Eliza Bennet strikes my sacral centre:
“The other women may be upper-class and affluent, and hold titles like Lady, yet they are pretentious and gossip. But Elizabeth is a true lady. She is authentic and doesn’t hesitate to go running through the mud when she hears her sister is ill. Her authenticity gives her dignity. Elizabeth is a lady.”
So begins an ongoing, lifelong battle between running through the mud and retaining dignity; between letting the child surface, yet keeping a refined air; floating in limbo between playful and proper, rough and refined. I seem destined to tread around a fine seam sewn intricately between two folds, with either a brush on the one side or a sweep against the other, and occasionally overstaying my welcome on either fold.
I am still learning to accept that in my attempt to highlight the delight that lies between light, bright, and sparkling and a long chapter of sense, I will never quite manage to tread on the seam, since the thread that binds it is clearly too delicate to touch.
“She did, indeed, Louisa. I could hardly keep my countenance. Very nonsensical to come at all! Why must she be scampering about the country, because her sister had a cold? Her hair, so untidy, so blowsy!”
“Yes, and her petticoat; I hope you saw her petticoat, six inches deep in mud, I am absolutely certain; and the gown which had been let down to hide it not doing its office.”
“Your picture may be very exact, Louisa,” said Bingley; “but this was all lost upon me. I thought Miss Elizabeth Bennet looked remarkably well when she came into the room this morning. Her dirty petticoat quite escaped my notice.”
“You observed it, Mr. Darcy, I am sure,” said Miss Bingley; “and I am inclined to think that you would not wish to see your sister make such an exhibition.”
“Certainly not.”
“To walk three miles, or four miles, or five miles, or whatever it is, above her ankles in dirt, and alone, quite alone! What could she mean by it? It seems to me to show an abominable sort of conceited independence, a most country-town indifference to decorum.”
“It shows an affection for her sister that is very pleasing,” said Bingley.
“I am afraid, Mr. Darcy,” observed Miss Bingley in a half whisper, “that this adventure has rather affected your admiration of her fine eyes.”
“Not at all,” he replied; “they were brightened by the exercise.”