This is an interesting perspective on how a pessimistic standpoint has ontological implications. It reminds me of what we read from Robert Reid-Pharr and Ersula Ore--both arguing a primary concern of grappling with the "anti-" as a foundation of controversy.

https://en.wikipedia.org/wiki/Julia_Kristeva

There are hints here of what Bob Doto was writing about recently with respect to literary theory development, lots of which wouldn't have been seen/known by Adler/Van Doren in 1972. You might appreciate the ideas in intertextuality and rhizomatic philosophy he touches on. There are also hints of connections to Whitney Trettien's work in Cut/Copy/Paste which I'm reminded of as well.

Doto, Bob. “Inspired Destruction: How a Zettelkasten Explodes Thoughts (So You Can Have New Ones).” Writing by Bob Doto (blog), September 13, 2023. https://writing.bobdoto.computer/inspired-destruction-how-a-zettelkasten-explodes-thoughts-so-you-can-have-newish-ones/.

Trettien, Whitney. Cut/Copy/Paste: Fragments from the History of Bookwork. University of Minnesota Press, 2021. https://manifold.umn.edu/projects/cut-copy-paste.

Doto, Bob. “Inspired Destruction: How a Zettelkasten Explodes Thoughts (So You Can Have New Ones).” Personal blog. Writing by Bob Doto (blog), September 13, 2023. https://writing.bobdoto.computer/inspired-destruction-how-a-zettelkasten-explodes-thoughts-so-you-can-have-newish-ones/.

Throughout Rewriting: How To Do Things With Texts (Utah State University Press, 2006) Joseph Harris presents highlighted sidebar presentations he labels "Intertexts".

They simultaneously serve the functions of footnotes, references, (pseudo-)pull quotes, and conversation with his own text. It's not frequently seen this way, but these intertexts serve the function of presenting his annotations of his own text to model these sorts of annotations and intertextuality which he hopes the reader (student) to be able to perform themselves. He explicitly places them in a visually forward position within the text rather than hiding them in the pages' footnotes or end notes where the audience he is addressing can't possibly miss them. In fact, the reader will be drawn to them above other parts of the text when doing a cursory flip through the book upon picking it up, a fact that underlines their importance in his book's thesis.

This really is a fantastic example of the marriage of form and function as well as modelling behavior.

cc: @remikalir

Gregory probably has 2 Cor 3:3 in mind, where Paul writes that the Corinthians are “a letter of Christ… written not with ink (μέλανι) but by the Spirit of the Living God, not in tablets (ἐν πλαξί) of stone, but in tablets that are hearts of flesh.”

cf. Callimachus, Aetia, fr. 1.4–5: εἵνεκεν οὐχ ἓν ἄεισμα διηνεκὲς ἢ βασιλ[η ....]ας ἐν πολλαὶς ἤνυσα χιλιάσιν

"[They criticize me] Because I haven't completed one continuous song in many thousands of lines."

Cf. Callimachus Aetia, fr. 1.9: ὀλιγόστιχος, ἀλλὰ καθλέλκει.

Here Charlotte sounds remarkably reminiscent of Fanny in Austen's Mansfield Park. Only seldom do Austen's heroines so pointedly critique the morality of fellow characters. Furthermore, both Fanny and Charlotte criticize the morality of character's choices in literature.

The conversation that takes place between Sir Edward and Charlotte is highly reminiscent of the conversation between Catherine and the Tilney siblings in Austen's Northanger Abbey. Both take place during a walk overlooking the sea and focus on a discussion of famous literary works of the time.

This form of self awareness in Charlotte is not common in Jane Austen characters ,such as Catherine or Fanny. Self-awareness is a characteristic that these characters have to develop. This poses a question to what qualities Charlotte has to develop throughout the novel. Development of character is a commonly discussed theme in Austen novels. Potentially, Charlotte's self-awareness of her qualities that make her a heroine could be her character development.

The emptiness of Sanditon is quite contrary to past resort towns, such as Bath in Northanger Abbey. When both are compared the emptiness of Sanditon is emphasized, creating a new hollow isolated setting.

Circulating libraries are repeatedly mentioned throughout Jane Austen novels as her books themselves can be picked up from them. Furthermore, many of past Jane Austen characters are bookworms such as Catherine in Northanger Abbey and so is Charlotte in Sanditon.

Sanditon is one of the only Jane Austen novels that go into details into the making of money, and more importantly the daily finances of families of the regency era. It is interesting that a female character expresses such an understanding to the working of the economy.

Mr. Parker's characterization of country life is extremely different from Mr. Heywood's experiences, leaving Mr. Heywood astonished. Austen frequently explores the contrast between citygoer's "vision" of country life and its reality. Another example is in Sense and Sensibility, when Captain Willoughby (representing the city) declares that no renovations should be made to a cottage (representing the countryside) to preserve its quaintness, despite its inhabitants protests of tangible issues, like "dark narrow stairs and a kitchen that smokes."

Marriage plot again, will Arthur end up with one of the Beauforts?

Austen is making fun of women like the Beauforts who claim they want to be private but really go out of their way to make themselves known to everyone

Marriage plot emerges here, Lady Denham wants Sir Edward to marry Miss Lamb for her money

Music and drawing, two skills that made women "poplar" or considered properly educated at this time. A theme throughout Austen novels, having these skills made women accomplished and more suited for marriage.

Beginning of a marriage plot here? The Miss Beauforts want to marry for money over love. By marrying someone with money it might also help their social standing. This is a similar sentiment that we saw with Mary Crawford in "Mansfield Park" who was all about marrying to elevate her own status.

Ironic given that the sea air was supposed to kill her

Diana's being unable to make mistakes is a trait that reminds me of other Austen characters such as Emma from "Emma." While they both mean well they carry themselves with an sense of being "all knowing" and never wrong.

Although Austen has not shied away from using other writers' work before, this is the first time she breaks her own narrative to insert direct quotes of theirs, emphasizing both the strangeness and awkwardness of Sir Edward's impassioned rant.

This just seems like such an odd job to take on when you have not met the person or been asked to do this. In other Austen novels we have seen some characters take on responsibilities without being asked but they normally have to do with relationships such as Emma and her match making n Emma or Lady Catherine de Bourgh getting involved with Darcy and Lizzy's relationship.

Seems to be the opposite of what every other character says about sea air

The fact that Mr. Parker feels comfortable enough to pass such strong judgment on the intellect of a woman who outranks him in both title and wealth is quite a contrast to Mr. Collins' constant flattery of and deference to Lady Catherine in Pride and Prejudice. See the beginning of Chapter 14 of Pride and Prejudice for Mr. Collins' opinion of Lady Catherine.

Defining the "rich" West Indian family and the "most respectable" Girls Boarding Academy as "company worth having" is a direct commentary on the socioeconomic break downs of society and Austen's views / judgment on what makes a society or company worth having. In Emma, Austen uses Harriet and Mrs. Elton to have even more pointed conversations about who and what is respectable company.

Lady Denham's status as the great lady of Sanditon is reminiscent of Lady Catherine de Bourgh's status as the great lady of Rosings in Austen's Pride and Prejudice. Both women are widows who yield a significant amount of power over the neighborhood in which they live.

Diana's concern about the sea air and perils of a visit to Sanditon sounds similar to Mr. Woodhouse's complaints about weather and travels impacting his health in Emma.

Letters are a recurring plot device in Austen's novels, from Knightley's declaration of love via letter to Elizabeth in Pride and Prejudice to Frank Churchill's consistent apologies in letters to his father and step-mother (Mr. and Mrs. Weston) in Emma. Here, they serve as an opportunity for Austen to introduce the reader to a few new characters who will factor into the story later on.

First character we see who is not from England

Sense of irony here on the part of Austen because it is so obvious that these women are the same

Once again we see Charlotte "reading" the true nature of Arthur and seeing beyond the facade. She is very sensible like Elinor in "Sense and Sensibility." And even though she does not always voice how she actually sees people, she and Lizzy Bennet are similar in their directness.

Is this how Arthur flirts with Charlotte? Through toast?

We have another instance of Free Indirect Discourse

This is a very odd dialogue scene. Something that we do not often get in Austen novels. The dialogue has nothing to do with the plot or getting to know the characters better (except about Arthur's weird habits)

Here I believe Charlotte sounds a bit like Lizzy Bennet. The two are both direct and tend to not hold back when it comes to being sassy or saying something that could be seen as controversial.

His "nervousness" is similar to Mrs. Bennet from P&P and maybe even Mr. Woodhouse from Emma?

Austen's narration of Sanditon is highly fragmented compared to her other novels. Chapter 4 unfolds with Charlotte as the observer of Mr. Parker's ramblings, but this particular paragraph seems to be free indirect discourse via Mr. Parker's perspective. Austen usually adheres to an interplay of narration between her heroine and the speaker (Ex. Elizabeth of Pride and Prejudice and Fanny of Mansfield Park), yet Sanditon is less defined and balances several different perspectives.

This exchange demonstrates the dynamics that characterize the Parker's relationship. Mr. Parker is domineering, while Mrs. Parker is passive. Austen uses their relationship to explore married life, similar to her characterization of the Gardners of Pride and Prejudice or the Westons of Emma as positive examples, and the Bennetts of Pride and Prejudice as a dysfunctional example.

This draws parallels to Fanny Price from Mansfield Park, who was also sent to a new location in order to undergo character development and most importantly find someone on the marriage market.

An example of free indirect discourse that taps into the perspective of Mr Parker. Free indirect discoures is a technique Austen frequently graces her audience where she uses third-person narration to portray the perspective of a character and their consciousness as they perceive the world.

in her novels, Austen often uses moderate modality words that add a tone of speculation to her description. This addition of "generally" is similar to how Emma "seemed to unite some of the best blessings of existence" that encourages her audience to sense a disconnect between the general appearence and the exceptions.

In Austen's novels, birth order is an important aspect of one's identity, particularly in consideration of their expected fortune. One of the main issues a character who is not the eldest face is not being an inheritor of the fortune, which then affect their marriage prospect of freedom of choice. An example of such is Colonel Fitzwilliam in Pride and Prejudice, who is the youngest son of an earl without expectations of much inheritance and thus has to use marriage also to ensure his own financial security. This is also the case for Edmund in Mansfield Park who becomes a clergy to support himself.

Similar to all the other families that Austen's characters happen to interact with - all "respectable" families of probably the gentry class. In Pride and Prejudice, the Bingleys were "of a respectable family in the north of England" (P12) while in Northanger Abbey, Mr Tilney was also "of a very respectable family in Gloucestshire" (p17).

The characterization of Miss. Lambe as a young and sickly heiress mirrors Austen's characterization of Anne de Bourgh in Pride and Prejudice, who was also an heiress suffering from an illness.

Propriety overrides charity for Mrs. Parker. Likewise, in Austen's novels, many technically beneficial things are not said for fear of violating social decorum. This frustration is expressed by Elinor in Sense and Sensibility, when she could only guess at what others meant through allusions and off-hand comments, and is unable to prod the situation herself. Austen uses this dilemma to show the consequences of always adhering to social rules.

Sea-bathing is also mentioned in Emma as treatment for various maladies. In the scene, there is a debate as to whether sea-bathing is medically valid. The description of bathing-places as "young and rising" by Mr. Parker may indicate that it is a trend among the upperclass.

In Austen's novels, servants are frequently alluded to but never distinctly characterized. More often than not, they blend into the background of the story. Why, with the prominent theme of class divisions, would Austen choose not to create active characters out of servants? It is possible that she views them as devices that reveal the true nature of members of the aristocracy/gentry. Nonetheless, we get glimpses into the lives of the working class, such as here, where we learn that "masters" like Mr. Heywood have many "haymakers," enough that he can summon three to four with there still being men, women, and children working in the fields. Read more about it here: http://www.jasna.org/persuasions/on-line/vol35no1/walshe.html

Modernity and fashionability are desirable characteristics that Mr. Parker is actively trying to cultivate in Sanditon. This is a marked departure from the value system that is practiced by characters in previous Austen novels. Pride and Prejudice's Darcy or Northanger Abbey's General Tilney are concerned with a preservation of inherited wealth and status, rather than the active generation of new wealth.

Here Austen gives her readers the details of a rather scandalous encounter. In previous novels, the rules of courtship were broken off stage, only to be recounted later (Marianne and Willoughby, Lydia and Wickham, Maria and Henry). However, in this moment, the heroine is the sole witness of an unchaperoned visit, leaving the reader to wonder what plot Austen was planning to develop.

The Heywoods contrast Mr Woodhouse in Emma who was extremely cautious over his daugher and other young people being in the world.

Austen uses an apparent paradox to comment on the failure of accomplishments as the suitable form of education for young women, through the ironic characters that have equally all the considered accomplishments of the world and all the lack of proper understanding like Miss Bingley in Pride and Prejudice.

Lady Denham and Sir Edward are in a similar situation to Lady Catherine de Bourgh and Mr. Darcy in Austen's Pride and Prejudice. Similarly, Lady Denham goes on to take an active role in Sir Edward's marital prospects, as well as urging the heroine not to pursue him, though perhaps in less aggressive terms than Lady Catherine to Lizzie Bennet.

In a stark reversal from Pride and Prejudice, in this work Lady Denham suggests the man must marry for money instead of the heroine. This seems to flip the standard Austen plot revolving around the 'marriage market' on its head, and would surely have created conflict later on in the novel had Austen completed it.

Compared to most of Austen's other works, this incident is an extreme amount of contact and interaction between characters from different "socioeconomic classes." The servants and coachmen etc. are often mentioned in passing. Emma is said to do some charity work but it is also mentioned in broad terms and the reader is never shown a scene of such acts.

An appropriate age for most of Austen's heroins on the marriage market e.g. Emma is 21, Elizabeth is 20, Jane 22, Elinor 19

The idea that Clara Brereton would improve Lady Denham in a certain manner diverges from the theme of improvement in Mansfield Park and Northanger Abbey. In those novels, it is the young girl, either Fanny or Catherine, whose mind is improved by the older individuals around her.

Another case of a landowner and "gentleman farmer" is Mr. Knightley in Emma.

Conversations about the importance or necessity of an occupation are rare in Austen's novels. If they occur at all they are about men and often in the context of them needing a way to provide for their future family. Within that context, this comment from Mr. Parker directed at Sidney and pointedly addressing his socioeconomic status seems out of character for Austen and is one aspect that differentiates Sanditon from her other works.

Insight onto the different types of "help" a family like the Griffiths would have at this seaside resort

Lady Denham appears to have a savior complex that is similar to Emma's desire to improve Harriet's status in life. Lady Denham's taking in of a "helpless" girl is also similar to the Bertram's decision to take Fanny in and improve her.

Indicating that Mrs. Griffiths comes from a socioeconomic status that allows her to be in this new type of class that rents houses in beach towns for just a week. This is also something we have not seen other characters do in other Austen novels.

The setting of Sanditon is unique from the settings usually featured in Austen. Most of her previous novels take place at large stately manors, symbolic of the wealthy and titled gentry class. Sanditon, however, is a location that is being actively developed, much like the rising middle class that is uniquely featured in Sanditon.

Another single, female character who is the "chief" of the family. We see this type of female character in previous Austen novels such as Mrs. Norris in "Mansfield Park"

Similarly, in Sense and Sensibility, Willoughby is seen to romanticize country life, specificially the look of Elinor and Marianne's cottage.

Austen's description of Sir Edward as a poor man relative to his peers of the same rank highlights the divergence between title and money in England towards the end of Austen's life--a prominent theme in both Persuasion and Northanger Abbey.

"Hotel" as a setting is one we have not seen before in Austen novels. This could be because the Parkers represent a different socioeconomic class compared to the rest of her characters

Being at a seaside town is mentioned in other novels but the actual nature of the sea and the town is not discussed like this before

As a character, Charlotte has a good read on others people she encounters. This is the case with other Austen characters such as Elizabeth Bennett in "Pride and Prejudice"

Unlike previous Austen novels, which begin by establishing the members of a family, their dwelling, and their social stand, Sanditon starts in the middle of action, with the names of the "gentleman and lady" in question not revealed until the end of the chapter. Moreover, a heroine is not introduced.

This is just like Frankenstein and his wife. Interesting choice since this has already pointed back at Frankenstein with the line under the title.

Speaking of fieldwork and coevalness…

Cf. supra.

Recursive practices are common, when we discuss intertextuality.

The great reveal! (Had missed it. Thanks to @EvanKindley for leading us to this entertainment piece.)

Again, the hypothes.is application allows for this kind of intertextual analysis to be activated and visualized in powerful ways. Students can literally link between related themes or moments in various texts studied.

What a great text to demo epub.js and hypothes.is! Moby-Dick must be the most mind-blowingly allusive and hypertextual writing in the English language!