Mary's interaction with Bennet shows that he is continuing to show an improved attitude toward his daughters. Mary is starting to bloom intellectually, and her interactions with Lydia show growth for both girls.
I like how Mary explained her reason for choosing “The Soldier’s Adieu” to Lydia. It is traditionally arranged for male voice, specifically tenor, but clearly Mary wanted to find a song that would appeal to Lydia, which she did successfully. If anyone is interested, Julianne Baird has some very good albums from the Jane Austen Songbook on Apple Music/Amazon Music/etc.
Also, I loved that you referenced Gluck’s “Che Faro Senza Euridice?” I was a music major with an emphasis in vocal performance and fell in love with this opera after hearing a recording of Dame Janet Baker performing it. It became a staple in my repertoire.
Great information! I don’t know much about music myself, but I spent some time researching and listening to appropriate pieces until I found the ones that fit the chapter.
The quotes that Mary selected made me pause and think about my youth, such idealism without true understanding. Mary appears to be awakening from her cocoon. Men of moral words are still men. How do we know how truly moral they are or if they have morals? Inviting Lydia on her own terms got her to the piano.
One correction - Lydia is barefoot but a few paragraphs later she is wearing slippers.
It was a very nice chapter. I liked the conversation with Mr Bennet, and the Mary’s reaction to Johnson. Very nice - the scenes with Lydia and Mary’s introspection.
I love softer Mary and tentative Lydia. ❤️ And now I’m going to have to go read Samuel Johnson.
Mary's interaction with Bennet shows that he is continuing to show an improved attitude toward his daughters. Mary is starting to bloom intellectually, and her interactions with Lydia show growth for both girls.
I like how Mary explained her reason for choosing “The Soldier’s Adieu” to Lydia. It is traditionally arranged for male voice, specifically tenor, but clearly Mary wanted to find a song that would appeal to Lydia, which she did successfully. If anyone is interested, Julianne Baird has some very good albums from the Jane Austen Songbook on Apple Music/Amazon Music/etc.
Also, I loved that you referenced Gluck’s “Che Faro Senza Euridice?” I was a music major with an emphasis in vocal performance and fell in love with this opera after hearing a recording of Dame Janet Baker performing it. It became a staple in my repertoire.
Great information! I don’t know much about music myself, but I spent some time researching and listening to appropriate pieces until I found the ones that fit the chapter.
I am completely taken by this story and your writing style. Such poignancy and the thread of hope slowly building.
Please note the following:
'Lydia stood in the doorway, barefoot, her hair slightly tangled from sleep.'
Just a little further on:
'Lydia came forward, her slippers scuffing softly across the floor.'
The quotes that Mary selected made me pause and think about my youth, such idealism without true understanding. Mary appears to be awakening from her cocoon. Men of moral words are still men. How do we know how truly moral they are or if they have morals? Inviting Lydia on her own terms got her to the piano.
I find it interesting that Mr. Bennet summons Mary to him instead of seeking her out. He is still setting himself apart, hiding himself away.
I still expect loud examples of restlessness from Lydia and Mrs. Bennet. Birds of a feather do not shed their colors so quickly.
One correction - Lydia is barefoot but a few paragraphs later she is wearing slippers.
It was a very nice chapter. I liked the conversation with Mr Bennet, and the Mary’s reaction to Johnson. Very nice - the scenes with Lydia and Mary’s introspection.