SINKING MY TEETH INTO MR. DARCY: An Anthropological Reading of Amanda Grange's 'Mr. Darcy, Vampyre' [Part I]

It’s a truth universally acknowledged that Fitzwilliam Darcy is the summation of what almost every woman would ever want in a man. With massive wealth, vast properties in-clusive of which is ownership of half of Derbyshire [Austen 1813: 08], a character that is passionate and private; excep-tional intelligence and the good looks to match; as well as a sister who is constantly pleasant and neither manipulative nor jealous; he is by far one of the most powerful leading men in the history of (romantic) literature, making him no doubt an excellent fictional crush. But what happens when he gets a racial makeover in 2009?

The Evolution of the Vampire (And a Cute Review of Related Media)

2008 was the Year of the Vampire in the TV and film zodiac. Although the vampire isn’t new, its character had un-dergone a transformation; today’s vampire has gone beyond being the soul-less antagonist because he or she had been given the attribute of feeling. He/she has been re-written to possess a sense of humanity. And it is very unfortunate how most portrayals do not give the remixed character the proper justice. The bulk of today’s vampire films have demoted the image. As Max Brooks has said, The Vampire was the Elvis of his day, now he’s the Justin Bieber  [02:03, Love/Lust & The Undead 2012].
 

The first humanly attribute given was the ability for vampires to feel lust beyond the typical reference to blood and feeding. This was manifested beginning with the series of transitions on how bites were administered. The neck was traditional and itself very sensual. The concept of the ‘sexy neck’ had to do with it being long, soft, and smooth. It is a very erogenous zone, and on the part of the “victim” it is sensitive to both pleasure and pain, making it to a degree sadomaso-chistic. John Carpenter’s Vampires [1998] introduced a more lustful approach towards the bite in the scene where the mas-ter vampire Valek chose to bite Katrina on the inner theigh as she lay on the motel room carpet. The sadomasochistic es-sence reaches its height upon the shift of the camera focusing on Katrina’s upper body, and then fixing on her face to direct attention to her eyes as she rolled them in pleasure.
 

Episodes 08 and 11 of True Blood Season 01 played on the psychology of its audiences in the notorious graveyard sex scene featuring none other than Bill and Sookie.  It was cleverly written as audience assumptions had an important role in the misleading --- viewers would think that Bill had bit-ten Sookie’s breast which is in accord to the message con-veyed by cinematic tools not only plausible but most of the times suggested, considering the immediate end of act marked by a sudden fading to black briefly before the bite. This assumption is based on the act of filling in missing infor-mation based on common experience. The fade to black often denotes either censorship or an effect of suspense, and in this case, viewer experience filled that ambiguous information gap when it comes to sex scenes. It is clearly seen in episode 11 that this was not the case, as the bite is actually positioned on the arm, as seen in the scene where Sookie was reaching back (to fix her hair).  

A second characteristic would be the transformation into the postmodern prince charming. One of the more popu-lar examples which would prove this would be the succeeding publications of vampire literature beginning with Charlaine Harris’ The Southern Vampire Mysteries  also known as The Sookie Stackhouse Novels [2001]. These were the materials for HBO’s True Blood  which premiered in 07 September 2008. One of the background themes that the plotlines re-volved around involved a reinvented look at love and, at a time of racism. It is a theatrical discussion of a complicated, beyond-racial love in a political society, in one of the states in America which is particular when it comes to ethnicity; in the case of True Blood, even more so. It is a big shift in terms of how people are acquainted with the idea of the vampire in the sense that it has a more futuristic tone with the creation of a synthetic vampire food in hopes of the establishment of a sense of co-existence. The challenge in convention as re-gards the debunking of vampire myths by a vampire himself is a welcome change for the purpose of variation, and there was also no way that there were any direct inconsistencies with the canon.
And then there was Stephanie Meyer’s Twilight [2005] which catered more to the taste of the younger population by touching more on the issues of culture-shock and simultane-ously finding fascination in some mysterious boy which later evolves into ambiguous affection followed by the formation of a relationship (between Bella and Edward) which its complexi-ties have to do with old feuds. Twilight had turned the image of the vampire into a consumerized or commercial form which is devoid of any bit of the original spirit of the vampire. In this portrayal, the vampire is purely Prince Charming.  This pure form makes the vampire less impressive because of the pointless rules and sensitivities which isolate them to being mournful lovers [Hallab 2009: 107].       

More than our heroes or pundits, vampires tell us who we are depending on the temper of the times. These shapeshifters may be romantic friends, repressive patriarchs, sensitive new-age guys, or plague-ridden angels [Postlethwaite 1996: 07].

Move over, Edward Cullen!

Now here’s a conservative vampire with a liberal flair ---  The story of Fitzwilliam Darcy as a vampire can be placed in the median of the spectrum of vampire literature where positioned at one extreme end is ‘villainous’ and the other being ‘complete prince charming’. Like Compton and Cullen, Darcy is also one variation of today’s “humanized” vampires. In the series of literature and media seen so far, humanization automatically meant electing the good; and as a consequence it also meant dropping the original villainous role kept in (what I like to call) the tradition of 1897. There is special mention of this year because it was the foundation of the succeeding vampire inspired media, or should we say it was the birth year of the popularly regarded “granddaddy” of them all.  Then again, to quote Hallab [2009: 107] in verbatim: It is doubtful that anyone can say for sure when the first “good” vampire appeared in literature, as goodness has many possible mean-ings.
    For the entire time that Darcy had been acquainted with Elizabeth before their marriage and even during its first months, he was completely secretive about his nature. As to how he was able to keep discrete and ‘live’ normally during his moments with Liz, the readers will never really know. What readers would find in the material is a storyline which is better interpretable as a reflection of sex --- minus the soft explicitness expected in a standard romance novel --- as well as purity, fidelity, and culture --- all set in the backdrop of the complications of difference. Of what kind? For now, some suspense; we shall leave that for later.
It is very misleading to consider this purely in the con-text of mash-up for entertainment.  To directly quote Mary Hallab [2009: 33]: (Folklore) vampires serve the needs of their community… As living dead, vampires and stories about them
often inculcate important social lessons.
    Darcy is one of the sexiest fictional people in literature and media because he has everything which would normally take a man around twenty years to have, and he is only 27-28 years old. Turning had heightened his sexiness because of what vampirism stood for, anthropologically and psychologi-cally. Bourguignon emphasized that there is the strong libidi-nal component in vampiristic behavior [Miller, et.al.1999: 210]. Its traditional meaning included unbridled, carnal sexuality [Brooks 02:03]. To my mind, this sexual energy is comple-mentary to the vampire’s role as the Lord of Death; this makes the vampire a Scorpio in accordance to astrological character, with sex and (a variation of) death as an instinct.
Regardless if the vampire is a prince charming, there will always be that perennial “bad boy” tone to it which is so masculine. This is the state of being “so yang”, which by con-sequence also means very masculine. Some females are attracted to this more probably because danger is irresistible. Ergo, what comes with the bad-boy image is a dangerous at-traction [Padilla: 2012].
There is nothing intrinsically seductive in other mon-sters. The bite of even the most horrific of the undead carries with it the promise of sensual pleasure and eternal life [Sher-man 1989: 17]. 
And so to put it quite blatantly --- Yes, Darcy is also GREAT IN BED. 
Of particular interest in the storyline is how despite these sexual and deadly instincts Darcy was able to keep a great sense of self-control, and this was something usually lacking in the average vampire. This will be discussed in full later.
Vampirism also represents physical and mental supe-riority, good looks, social position, supernatural powers of course, and the most alluring feature of all ---- immortality.
Darcy has witnessed some of the most romantic eras in French and Italian chronicles. This was the foundation for his eye and appreciation for beauty, which also explains how he came to adore Elizabeth’s nonconformity (as well as her alert demeanor and expression of agency).
Again, one thing which differentiates Darcy from the other, pop melancholy, vampiric lover is that he has a regal disposition.
An additional liberal twist begging to differ from the usual vampire culture is how he never slept in a coffin. The burial enclosure was a metaphor, that the vampire coming out of the coffin represented a marginalized member of society that had been wrong or not allowed full rights [Erickson 07:26]. Darcy refused to recognize himself in that regard. He was specifically skilled at mainstreaming, and it is very logical to say that considering the timeframe of his existence (also the same case with the others) and regardless of being born that way or Turned, these do not serve as sufficient grounds for marginalization.  This will be explained properly later in the
segment The Politics of Existence.
    Further, what I interpret to be a nationalist-patriotistic security blanket in the act of bringing native soil to literally live on wherever the vampire has relocated, is also absent in the Darcy rendering. This is a clear deviation from the 1897 tradi-tion which is not necessarily condemning. With each vampire a reflection of his time, the 1897 obsession with soil weighed on the outdated images of rural English national identity. There is also an agrarian essentialist ideology with romantic and conservative notions of an organic society with geographical contexts proclaiming the reinforcement of certain concepts. Mentionable are landownership, urbanization and modernity based on nostalgia for a supposedly “vanishing” way-of-life; this is connected in turn with perceptions of an idyllic or harmonious village existence. Linked to this of course is the view of the countryside generally as a locus of myths, sacred or spiritual attributes, non-commercial values, and traditional virtues [Brass: 2000]. Darcy bore no particular attachments. 

Why This is Not Another Vampire Story on the Shelves

  

Mr. Darcy, Vampyre rises above other P&P mashups because of the historical closeness between the subjects of vampirism and the Austen creation.
 

The notion of blood-sucking corpses arose in South-Eastern Europe sometime in the early medieval period, and by the eighteenth century belief in their existence was so ex-tensive that not to believe in vampires was tantamount to heresy. Popular fascination with revenants was further fuelled by reports of vampire outbreaks erupting across Eastern Eu-rope in the early decades of the eighteenth century, and these were also known in Western Europe [Keyworth 2006: 241]. There has been a proliferation of dissertation and treatises on the subject from those early times. The melding of Pride & Prejudice with vampires is innovative because it is diligent; there is the complementary relation between the variables of time and age.

Judging Part of the Book by its Cover

There’s something about the minimalist touch which signaled elegance and tapped into the Darcy-like spirit. The cameo is very curious and may resemble something bought before 1802, which was the date that the letter on the first page (addressed to Jane from Liz) was written. Observing the bite marks on the profile’s neck, it may be speculated that it had been customized to the Darcy lineage, and this also con-sidering the old history of cameos in general. It’s really more of an adorable detail more than anything. The most critical bit of information tying the piece of jewelry to Fitzwilliam was that men were said to have collected cameos before women. This was a symbol of culture and wealth --- naturally, twin concepts that Darcy’s lineage is known greatly for, especially in contrast to that of Liz Bennet’s. 

For a rough semiotics of colors, it has been said that the categorization of colors is universal, trans-cultural, and trans-ethical [Rosch et.al.: 1976]. The usage of black to gray tones implies darkness, villain-ity, discreteness, silence, and a degree of seductiveness. The red droplets are apparently traces of blood, signifying heat or warmth --- of which is ab-sent in the vampire. The color also signified aggression, and destruction. The red drops on a white background symbolizes deflowering, perhaps a loss of some form of innocence. The overall color scheme presentation is a  subconscious sugges-tion of fear. 

There is a great interest in the spelling of the word vampire as ‘vampyre’. Although there is the commonly re-minded risk in over-interpretation, in recognition of the in-creasing volume of (fan-based) theories concerning vampire literature and culture, as well as Grange’s book being a con-tribution to vampire theory itself, I throw my postulate that Mr. Darcy as a vampire may have origins in a certain vampyre ethnicity. He was bitten by Lady Catherine [Grange 2009: 257], but there is no solid proof or information regarding her vampire ethnicity. Perhaps she has German or Serb roots. This is based on the publication of August Ossenfelder’s po-em “der Vampyr” which appeared in 1748. It may be ruminat-ed on that there is the possibility that the poem, which is the basis, may have been published before that.
 

All debate on dates aside, consider Ossenfelder’s roots as well which ties the issue of ethnicity and language altogether. This fragment does after all only discuss appear-ance and reference as an appendix to Christlob Mylius’ article on vampires in Naturforscher. And this is compared to Polidori who is famous for his The Vampire which was published in the 1820s [Wilson: 1985]. Darcy was re-born or Turned in 1665 [Grange 2009: 252].

LOVE AT FIRST LICK [For a Pop Culture of Ice Cream]: Introduction

OPEN THE FREEZER...

        A creamy and sweet reward with many names, ice cream is timeless as well as an ageless language able to transcend generation gaps. It is one food which can be flavored with memory and emotional dimensions. While it is typically sought for comfort, it is now becoming fortified with an abundance of meanings.
 

        When we think of today’s ice cream, it is first and foremost store-bought. In the local setting, the task of creating a batch at home requires an amount of effort and resources, that only the culinary zealous would undertake such a project. It is usually a processed good which is available in almost every store, in large to budget-friendly and single serve sizes.
 

        Smith [2009: 161] pondered on the ambivalence at the heart of eating: does it signal barbarism or civilization? If in accord to Lupton [1998(2012)], eating ice cream could be considerably neutral. She says, in verbatim: The mouth is… a potent symbol of both consumption and its control, combining in site the sensuality/nature (the tongue and the tastebuds) with rationality/culture (the organ of speech) [Lupton 1998(2012): 17]. On another end, as ice cream is included in the bulk of today’s processed edibles, it is a product of technology ---- which is a determinant of civilization as it is one of the key components that structure the postmodern world [Lane 2006: 27]. Ice Cream can be described in accordance to Fischler's 'omnivore's paradox' definable as …the continuing tension between the human biological need for variety, diversity, and innovation... [1980: 946; Lupton 1998(2012): 15].

         While Smith ruminates with a Levi-Straussean inclination emphasizing the role of preparation in labeling eating as a civilized act, this inked discussion will highlight how the practice of embedding meanings into food is a civilizing attribute to the action of eating. It follows suit on studies concerning the relationship between eating and subjectivity, having personally being influenced by thinkers such as Lupton [1998(2012)], Fischler [1988], Curtin [1992], Faulk [1994], and Williams [1961(1993)] just to name a few. Ice cream is enjoyed instinctively, as we do not necessarily need language and discourse to experience food [Lupton 1998(2012): 10]; it is merely the act of eating. But the moment it becomes introduced through advertising… these are integral to the meanings we construct around food and how we interpret and convey to others our sensual experiences in… touching and eating food which in turn shapes our sensual responses [ibid]. This turns the experience of eating into dining.

        Although the subject is not entirely new, this rumination on ice cream is addressed predominantly from a semiotic tradition [Downing 2004(2009): 09] which emphasizes …discourse consisting of social, cultural, or political meanings embedded in “sign-text”; and this is particularly applicable but not necessarily exclusive to the segment Creamy Captivation. Schematics in the framework of cultural ecology has been applied to determine the role of ice cream in the process of cultural socialization in the segment entitled Is it more tasty in the Philippines? Complementing theories and premises are directly lifted from texts so as to prevent committing brutal hermeneutic injustice.



LOVE AT FIRST LICK PART I: CREAMY CAPTIVATION 

LOVE IN THE TIME OF ZOMBIES: The Juxtaposition of the Sporty Body and the Comic Body

As a matter of personal opinion, Zombies are the second idea which comes to mind upon hearing the word ‘undead’. They cannot be on equal footing with the Vampire because of the apparent differing characteristics, and most especially due to the races’ age differences. Commonly, these two are figures of popular culture; and in recognition of this, the question of who came first is based on who reached popular mention before the other. Zombies are known to have a complicated literary history, having been first mentioned in The Epic of Gilgamesh, roughly dated 18^th century before Christ. But it was only in 1936 that its existence was acknowledged on H.G. Wells novel and film; and its full recognition was not until 1968 with the George A. Romero redefinition which carried on to this date. These are the zombies we know today. This was a 71-year age difference with Bram Stoker’s Dracula which again, was popularly introduced in 1897. 

This is a discussion of Seth Grahame-Smith's Pride & Prejudice & Zombies read under the lens of comedy theory as well as (physical) anthropology.

Why Do We Like Zombies?

            We like them because of our subconscious fascination with the grotesque. This is likely to be partly due to the thanatos instinct which is naturally curious on the ideas of gore and mayhem. Zombies, as “Elvira” says, are a cinematic creation, the first portrayals of man as an evil, destructive force to be dealt with [20:10 Love/Lust and the Undead 2012]. According to Max Brooks, these were in themselves chaotic because they did not have a master, and these were global [14:59 Love/Lust and the Undead 2012].

            In the Romero typification, no one has an idea of how these zombies came about. But the point underscored the idea of a more solid otherization (compared to that of the vampire who are capable of mainstreaming to the point of near perfect discreteness).

Zombies in Netherfield

          Despite the spread of some mysterious disease which turns people into the “stricken” or “sorry stricken”, daily life went on in Netherfield. Penny McGregor was still tasked to deliver oil to various estates within thirty miles of Meryton until her death by ambush of the stricken [Grahame Smith 2009: 50]. Balls were still held and attended as the merriest possible diversion to temporarily escape the darkness the country faced. There was Mrs. Bennet who did not allow her daily business of (gossiping) to be affected. And she was still very much concerned with the act of matchmaking; still having the same interest of finding the financially appropriate men for her daughters. This, while Mr. Bennet as always was in the company of his beloved books in the comfort of his Longbourn library. Their five daughters, however, have been consistently busying themselves in the skills of combat and martial arts. These were the influences of their father who insisted they be socialized in this fashion, so as to become an honorable mini-army of zombie hunters.  

            The Bennet sisters are portrayed as having a unique role in this story as defenders of Hertfordshire, as commanded by the King [Grahame-Smith: 2009: 214]. As typically this role would be masculine, this is softened to an extent with the addition of the need to find love during the most complicated of times, a time of death and chaos. 

           

Breaking the Skull

The whole combination is comedic, and as there are a variety of themes waiting to be discovered, hidden in folios and folios of text and pictures. This article concentrates more on the idea of the types of bodies which were mentioned in the novel as well as what they stand for.

 Its diligence to the canon as regards the idea of love and marriage during the time of a zombie outbreak is fitting, especially if examined in the context of physical anthropology paired with comedy theory. This is with specific mention of the courtship of Elizabeth Bennet by Misters Collins and Darcy.

             Mr. Collins and the Comic Body.  Grahame-Smith may have not intended it, but he has literally shaped Collins in accordance to the structure of the comic hero. Recent comedies

seemed to have left out the subject of bodies, as there are thin and beautiful people trying their luck at comic material. Is this transition a successful one? On certain occasions it is, if the material is brilliant enough. But the classic approach never dies. Following a traditional preference, Collins may not be the hero but a supporting character; but it is his fatness that is of importance as a staple of comedy in such a dark storyline.

            If Collins was thin or average, it is highly doubtful that there would be a comedic affect to his ridiculousness. Andrew Stott [2005] mentioned Jerry Seinfeld who once said that conventionally attractive people do not make good (stand-up) comedians. The audience distrusts beauty in comedy and wants their clowns to be imperfect. An ideal of physicality must exist against which the comedian can be found lacking, thereby reassuring an audience that comic substance will be found in departure from those ideals [Stott 2005: 79]. 

 As a permutation to Maurice Charney [1978 cited in Stott 2005: 79], Collins’ fatness shares in that of the comic hero where it is the declaration of himself as the patron of everything real, physical, material, enjoyable, and the enemy of abstractions and seriousness. The comic body is exaggeratedly physical, a disproportionate, profane, ill-disciplined, insatiate organism [Stott 2005: 79]. The character can be a disproportionate caricature him or herself; and this is the same case with Mr. Collins who is mentioned to be ‘uncommonly round’ [Grahame Smith 2009: 65]. And this portrayal is perfect because the comic body privileges the facts of physicality over the ideal of the physique, and its functions over poise [Stott 2005: 79].

            As fans of the original Pride & Prejudice as well as of the numerous canon-loyal, fan fiction will know, Mr. Collins as suitor came about as a thought up remedy to the estate dispute. Perhaps Collins was guilty about the Longbourn house and gardens passing directly to him instead of one of the Bennet daughters. And so to marry Elizabeth would be the most legal solution. On normal days, this would not only be a typical solution, but stripped of its comical value.

As Evolutionary Theory would have it, the act of finding love and marriage in the time of zombies would primarily have to do with survival. In an interview with fitness philosopher and weightlifting enthusiast Abner Bondoc [2012], he says: People have been programmed to look for characteristics which would signify health as well as clues hinting at the high survival rate of offspring if they choose to have them. To take this and apply it in the case of PP&Z, there was a relationship between the variables of physique as well as defense capabilities.  The humor in his act of courtship towards Elizabeth has to do with irony because of orientations during socialization. Society finds it strange for a man to be passive and unskilled in any form of combat or defense. Society’s word for men lacking this knowledge or capability is that they are ‘sissies’. It is therefore ironic that Elizabeth, who has exceptional knowledge of these fields could be considerably more manly than Mr. Collins; even more so when he hid behind Elizabeth

as she killed the zombies during one of their walks [Grahame-Smith 2009: 49-51].

          In PP & Z, concomitant with the idealization of beauty is a cultural insistence on mastering the body, and making it conform to ideas of deportment and appropriate behavior, regulating its functions and odours according to what is considered acceptable, and what must be suppressed as crude or bestial [Stott 2005: 81]. This idea of the beauty and the body is taken in the context of cultural refinement, just like in the canon, and this is developed even more specifically in the PP & Z fan fic where “accomplishedness” involves an excellent if not an exceptional mastery of the “deadly arts” [Grahame-Smith 2009: 117].

The variables of the round body and martial arts as played in the PP & Z version are influenced by old fashioned martial arts films. There was the tendency for the author to adhere to stereotypical images of the fat coward. Notice how since Bruce Lee, the Chinese martial arts stars are thin. There is habit to assume that a guy who could kick is automatically of thin built [Bondoc: 2012], and this is speaking from a westernized perspective. This was until 1979 where Sammo Hung became identified as the face of a new kind of kung fu which challenged the ‘fat is slow and immobile’ equation.   Still, Mr. Collins is no Sammo Hung.

Elizabeth According to Critics. I am honestly wondering what possessed Grahame-Smith to include a discussion guide at the last two pages of his book. On the plus side, question number five would be an interesting subject for this segment.

Elizabeth’s fierce independence, devotion to exercise and her preference of wearing boots has led her to be called the “first literary lesbian” by some critics. Whoever shared that opinion has clearly no knowledge of gender categories. These criteria mentioned do not suffice as basis for deciding the gender of any character, living or dead, fictional or existing. As for the matter of her “penchant for boots”,  for this to be said as a fashion of a lesbian is a chauvinistic statement. To select boots over heels or doll shoes is a selection based on comfort and practicality.

The anti-boots attitude the critics had are more or less based on some unofficial shoe-buying psychology which maintains that women are particular with style because of certain aesthetic properties being sought.  What critics are overlooking is that aside from loyalty to the canon, Elizabeth Bennet is one of the first recognized nonconformists in the history of literature. She embodies agency.

            Her sense of independence stems from the fact that she has no known insecurities; she is confident. Further, her zealous interest in exercise is beyond the normal degree in comparison to other women. And the critics were able to use this to describe her because most women are known to not have an eager attitude when it comes to exercise [Bondoc: 2012]. As society labels the activity of workouts and exercise through contact sports and the like as masculine, this would make any woman who is interested in this stuff considered as tomboy, not lesbian [Bondoc: 2012]. This is also in recognition of the fact that there are lesbians who do not like masculine activities, and that there are lesbians who have feminine interests such as wearing makeup. And this is perfectly valid with Elizabeth, because if she was a lesbian, Grahame-Smith’s book would discuss her (discrete) merry wars with Caroline Bingley; and not Fitzwilliam Darcy.   

            To my mind, critics were able to receive this impression due to a great part of the psychology of the visual. The novel has portions which show details in graphics, and I had been amused to find how masculine Elizabeth’s face had been portrayed, especially during combat scenes. Page 15 exemplifies the definition of her chin area as well as her cheek bones. Her brows also did not suit her eyes. This is repeated in page 150, and this time the angle of her face further defined her jaw line; making her appear like a combination of Jeffrey Bryan Davis and Christopher Walken wearing an up-do. Elizabeth at her softest was on page 303 when she was holding hands with Darcy just before they decided to behead a set of zombies. This page alone already negates the whole lesbian label.

            An insight from reading the fifth question  is how people tend to forget that gender categories do not necessarily have an age requirement.  I was quite surprised with their forgetting that Lady Catherine was just as extreme as Elizabeth was. In fact, she was portrayed to be even more masculine.  This was both implied in the text as well as in picture [Grahame-Smith 2009: 291]. Lady Catherine’s portrayal on page 291 is reminiscent of a Rustom Padilla dressed in drag with the added element of age. I along with others who may agree with what I have to say of this can only wonder why Lady Catherine was overlooked.   Was it because she’s an old lady?

Much Ado About Darcy. In contrast with Collins, Darcy is physically perfect with combat skills to match. These traits guarantee the survival of his lineage, and considering this, makes him without a doubt a wise choice.

The Success Behind Pride & Prejudice & Zombies

            It was against the ideals of beauty and manners that physical comedy is produced. The perversion of the socially tolerable body provokes laughter [Stott 2005: 82]. Abjection helps us understand the place of the body in comedy, and to borrow from John Limon, there is the psychic worrying of some of the aspects of oneself that one cannot be rid of that seem but are not quite alienable --- for example blood, urine, feces… and the corpse [Limon 2000 cited in Stott 2005: 82]. 

           People’s fascination with zombies is a fascination with pollution, something contradictory to society’s notions of civility and culture. Abjection is one explanation as to how the sick and morbid, even toilet humor; literary plotlines concerning violence and pain, how material of these nature are popular. This makes the mash-up effective because Pride & Prejudice is a definition of culture and propriety. And with the grotesque as the embodiment of the abject [Stott 2005: 83], the zombies which are ridiculous, horrifying and bizarre --- these when incorporated into the canon presents the idea of the clash of the extreme opposites.

References:

Bondoc, Abner A.,  Fitness Philosopher & Weightlifting Enthusiast. Interview. 01 October 2012

Charney, Maurice, Comedy High and Low, New York: Oxford University Press, 1978.

Graham-Smith, Seth, Pride & Prejudice & Zombies, Philadelphia: Quirk Books, 2010

Love/Lust and the Undead, Sundance Channel

Stott, Andrew, Comedy (The New Critical Idiom), Taylor & Francis E-Library, 2005.

The Seductive Personalities of Pride & Prejudice Characters

What does Austen say but not say about her beloved characters? In such a suppressed society, how do they discretely or not discretely act out their attitudes when it comes to liked people of the desired sex? The following analyses make use of Robert Greene's [2003] dissertation on seduction as an art. It must also be noted that the traits of the characters are based on the original novel, not the Wild & Wanton edition. 

Jane Bennet. The eldest of the five Bennet sisters, recognized throughout all editions diligent to the canonical structure as the “true beauty”.  She is known for her softness and quiet attitude; as a consequence she never invokes her agency. It is this trait which makes her the favorite of her mother who believes that it is this characteristic which makes Jane supposedly a more popular personality in the Hertfordshire area.

            Her strong sense of innocence is insisted all throughout the storyline, and this qualifies her as being a combination of The Natural and The Charismatic, excluding the aspect of possessing skills of manipulation. As a Natural, she is inclined to be child-like and this is evident in her having a good opinion of people in general. The radiance in her brings about her a great and sweet charm which lacks in her other sisters. She “never sees fault”, and “All the world is good and agreeable” in her eyes [Austen 1813: 19].   

           Elizabeth Bennet. The fact that she could attract the attention of the ultimate eligible bachelor in England automatically makes her predominantly a Siren. She exemplifies the balanced siren who has a heightened sexual allure mixed with a regal and theatrical manner [Greene 2003: 09]. This specific archetype is inspired by the goddess Aphrodite who represents the male fantasy of a sexual, supremely confident and alluring female who offers the promise of endless pleasure and a bit of danger [Greene 2003: 11]. Elizabeth stands for nonconformity, and this is one of the greatest dangers during her time. It was this same attitude that enabled her to distinguish herself from other women. She stood out as the ultimate siren for Darcy because unlike Caroline, she did not throw herself at him nor seek his approval. She did not eye his assets, nor did she treat him as someone superior --- as has been the practice of other females who had good knowledge of his prestige and background. Elizabeth was a challenge. 

            Aside from the liveliness of her mind [Austen 1813: 580], she is identified by her eyes which their dark dues were beautifully expressed [Austen 1813: 32]. Elizabeth has a certain gaze which was alluring for Darcy.  

         Mary Bennet. The majority of the years of her life she dedicates in vain to constant practice at the piano as well as much attention to her collection of extracts [Austen 1813: 89-90]. She places the pressures of society upon herself, her common mantra that she must be a proficient. Since she is the only one amongst her sisters who has been said to be plain, she takes this as a catalyst to attempt to succeed. She is known to embarrass herself by forcing her performances at public balls [Austen 1813: 153].

            Mary is what Robert Greene [2012] would call the Anti-Seducer. They are opposite the seducer in the sense that they are insecure, self-absorbed, and unable to grasp the psychology of another person. As a result, they literally repel [Greene 2012: 131]. They have no self-awareness and never realize when they are pestering, imposing, or talking too much. They lack the subtlety to create the promise of pleasure that seduction requires [ibid].

Lydia Bennet. She is fifteen years old [Austen 1813: 66] and still girlish in almost every way. Excessively carefree, officers are attracted to this [ibid]; but this does not suffice as a seduction tactic. Lydia Bennet though flirtatious, still lacks  the amount of experience in order to be profiled in accordance to the Greene theoretical framework.

Lt. George Wickham. To an extent, it may be said that Wickham’s seductive personality is the Rake. He is disloyal, dishonest, and amoral. He is unrestrained, a slave to his love of women. The added lure to his reputation is that so many women have succumbed to him and the reason is not known. He utilizes words as he knows that the proper combination of these is the weakness of females. He is therefore a master of seductive language [Greene 2003: 17].

Wickham is like the Ardent Rake in the sense that he uses planning and calculation, as well as an uncontrollable libido [Greene 2003: 21] to serve his motives while attempting to be discrete. When he pursues a woman, he is truly aglow with desire, and he knows how intense desire has a distracting power on a woman. He uses the knowledge that if a woman feels consumed by a man’s attention, she will feel confident that the man will do anything for her. This will then divert her from thinking nothing else about him or encourage her to find a way to forgive his indiscretions [Greene 2003: 21].

            This is of course one big cover.

            Georgiana Darcy was attracted to him because she was seduced by his words [Austen 1813: 306]; Wickham was seduced by her dowry of thirty-thousand pounds [Austen 1813: 306]. Lydia Bennet’s panties dropped at the promise of what “Wickham the Rake” offers which society normally does not allow women to have, especially during that time: an affair of pure pleasure and an exciting brush with danger [Greene 2003: 24].  Wickham appealed to Lydia because a woman is often deeply oppressed by the role she is expected to play --- as she is supposed to be the tender, civilizing force in society, and to want commitment and lifelong loyalty [ibid]. But then of course Lydia is of course recognized by readers to be the unruly slut of Longbourn who preferred officers [Austen 1813: 352].

            Although becoming married to Lydia, Lydia will find herself experiencing a relationship based on routine as Wickham as Rake will always be a distracted mate. He would never give her totally of himself [Greene 2003: 24]. It will also be expected that he would be cruel to his wife and indulge in taboo sex. Knowing Lydia, she probably wouldn’t mind an occasional BDSM, as it would enable some freedom of her repressed side [Greene 2003: 25]. With the Rake as the image of the “untamed”, Lydia may like the idea of a wild Wickham. 

            Wickham has had a history of attempting to seduce Elizabeth. As to whether or not it was a wise move, readers wouldn’t know for sure. This bold move may be due to his not

knowing Elizabeth enough to know that his tactics wouldn’t work. But then again, the Rake never worries about a woman’s resistance to him, or for that matter about any other obstacle in his path. Resistance is only the spur to his desire, enflaming him all the more [Greene 2003: 25].   

            William Collins. Deviating from Robert Greene [2003], I provide my own archetype. Collins’ seductive image is ‘The Politican’. I speak as a true-blooded Political Anthropologist when I say that I also disagree with the image of seduction as leading or having purely to do with sex. The art has begun to be adapted for social purposes. Only recently do we recognize that seduction is an effect of charisma, and this is the ability of a true Statesman. A Statesman has power exceeding that of his or her competitors if he or she has rhetorical flair at the same time employing theatrical devices. All of this is compared to that of the skill of the Politician, of which he has none (perhaps bread and circus). What grants politicians their notoriety is their compulsive lying or consistent play of words which either offend or excessively praise to the point of ridiculousness. Politicans are known for what I personally like to call ‘Blossom Rhetoric’. This pertains to  political correctness gone to the point of absurdity, combined with ‘weasel wording’ [Cathcart & Klein: 2008] and doublespeak; this is a body of words that are sweetly perfumed that they are met with approval by the untrained ear. A state of awe is the effect of the accumulation of immense power without the usage of force.

            Though Collins is a member of the clergy, he is truly a Politician. There are numerous occasions where he has illustrated lack of propriety [Austen 1813: 147] as well as put his foot often in his mouth.

            Aside from being able to discuss many matters with those whom he converses with at any social event, he sees to it that he is able to pay compliments and exercise his blossom rhetoric [Austen 1813: 102] at every opportunity.  What is amusing about it is his confidence in it that they appear unrehearsed. 

Caroline Bingley. In an adaptation of Greene’s [2003] terms, she would be the sort of female who would classify as a Siren wannabe. She aspires to be Darcy’s ultimate fantasy figure. She is known to fail in making her presence established when with Darcy, which is required by Siren standard to be always heightened and sexually charged [Greene 2003: 07]. She may have culture and adhere to etiquette; she has been portrayed to have a fine body. However, what lacks in Caroline that is inherent in being a true Siren is the theatrical streak. Caroline has no unique character and is in this criteria considerably plain.

Unlike Elizabeth, she cannot provide the intellectual pleasure that Darcy yearned for. On occasions, she has feigned enthusiasm towards intellectual activities such as the useful occupation of reading [Austen 1813: 80]. She fails to provide even the illusion that she is capable of providing variety and adventure [Greene 2003: 09]. Either this, or Darcy is just exceptionally smart.

Caroline’s definition of the accomplished woman which includes the manner of speaking in terms of the tone of voice and address and expressions  [Austen 1813: 56] is a statement said like a true Siren. Sirens are known to have two voices. The Lolita-ish version is considered attractive because it is like that of a little girl’s. The incorporation of lower, deep, breathy tones makes it seductive; a mix of the little girl and the vixen [Greene 2003: 10]. It is known that innocence excites a man [Greene 2003: 11]. And it is this same innocence which is played on frequently with Caroline when she gives Darcy much adulation and whenever she seeks his opinion on even the most trivial of details. Though the tone of Caroline’s voice may be debated, it may be theorized that there may have been a time she had attempted to play with her register to attract Darcy’s attention.

She wanted to capture Darcy using this Lolita-ish effect. She saw Darcy as this very masculine and powerful man and this was her foundation for portraying herself as the little girl whose deepest need is to feel loved and desired, craving protection [Greene 2003: 11]. And this type of relationship usually works because it is perversely satisfying in that it gives the male the critical illusion that he is a protector, the father figure; although it is actually the Sex Siren who controls the dynamic [ibid].

But as for her --- Caroline Bingley has constantly attempted to operate on Darcy’s most basic emotions but frequently failed.

It has been said: that the intellectual is often the one most susceptible to the Siren call of pure physical pleasure because his life so lacks it [Greene 2003: 12]--- this case is not valid with Darcy because his fascination with Elizabeth satisfies both intellectual and physical cravings.

Physical qualities are the Siren’s main instrument of power. Heightened femininity through elaborate or seductive clothing are known to act all the more powerfully on men [Greene 2003: 13].  Caroline Bingley is portrayed to have an attractive figure, of which she displays best by walking [Austen 1813: 82]. The Siren moves gracefully and unhurriedly. Bingley’s mastery of etiquette involves knowledge and proper practice of gestures, movement, and demeanor. These become an alternative to the Siren’s spoken voice which hints at the exciting, and stirring desire without being obvious [Greene 2003: 15].

As for Caroline’s comment as regards the ‘air and manner of walking’ [Austen 1813: 56], the definition of the woman’s air in terms of seduction is the requirement for it to be languorous, implying leisure for love and pleasure. The air should suggest innocence and eroticism combined. And anything that cannot be immediately understood is supremely seductive and all the more so if it permeates the woman’s manner [Greene 2003: 15].

Unfortunately, it is implied that body and grace is all Caroline Bingley has to work with. The Siren effect depends on an overall impression, as past a certain age that impression becomes difficult to project [Greene 2003: 16]. Her option then would be to seduce with nonphysical charms, but this requires genius skill [Greene 2003: 16], of which she has almost none.

Charles Bingley. Rich, adorable, and available. Bingley was able to get the attention of Jane because he is everything that a girl could ever want [Austen 1813: 18]. To Jane, he is the Ideal Lover [Greene 2003: 29], and this is based on the experience she had with a previous suitor who wrote her some very daring poetry [Austen 1813: 64] as well as other men whom she would have settled for but were too ridiculous to be seriously selected [Austen 1813: 18].

Ideal Lovers thrive on people’s broken dreams which become lifelong fantasies. Charles promises adventure as well as the oath to be a lofty spiritual companion [Greene 2003: 29]. He embodies a Jungian archetype, the dream of the chivalrous knight [Greene 2003: 37]. Charles would go through the trial of social scrutiny in his choice of Jane considering her background just to prove the sincerity of his love for her. The key to this archetype is a sense of absolute devotion [ibid] of which Charles Bingley tremendously has for Jane. As stated in Greene [ibid], Bingley is a man who did not let matters of money or glory intrude into the fantasy and action of his courtship of Jane.

 Fitzwilliam Darcy. Predominantly egotistic at first impression, but very passionate and private. What is seductive about him is predominantly his assets. His entrance is usually characterized by a buzz about the people (within a ballroom) who speak of his amiability based on three aspects: his attractive features, his large fortune as the next priority, and lastly his status as available [Austen 1813: 12].  But Darcy is also known to have a character-based X-factor where he is able to radiate some quality that attracts people and stirs their emotions in a way that is beyond their control [Greene 2003: 03]. He is able to carry himself in a very dignified and composed form.     

References:

Greene, Robert, The Art of Seduction, New York: Penguin Books, 2003.

Austen, Jane, Pride & Prejudice. Planet E-book Text version, 1813.