Teen Titans by Cliff Chiang

The biggest crime is having to wait 2 years to know if we cracked the code and the Duffers are geniuses, or if we really were delusional all along and the Duffers are bullshit😩

Hey luv!

Sorry to bother you 😭, but I was wondering if you could help me sort the volumes by chapters or chapters by volumes? HA? I'm currently listening to saezuru cd drama on a site and whenever i start listening im clueless as to what chapter the said volume contain cuz I forgot!? TT I would really reallyyy appreciate it if you could just help me out on thus one.

Merry Christmas! Lv ya! And I lv your pageeeeee ughhh I can't get enough of itttt!!!

Hi there!

Vol 1: Don't Stay Gold, Saezuru Chapters 1 - 3, then Tadayoedo

Vol 2: Saezuru Chapters 4 - 10.5

Vol 3: Saezuru Chapters 11 - 16

Vol 4: Saezuru Chapters 17 - 22

Vol 5: Saezuru Chapters 23 - 28

Vol 6: Saezuru Chapters 29 - 35.5

Vol 7: Saezuru Chapters 36 - 43

Vol 8 (releasing on March 1st!) Saezuru Chapters 44 - 50

Hope that helps, and thank you for the love! ♥

31 Days Of Dick Grayson

🦋☀️🦋

18. Nightwing By Chuck Dixon Or Nightwing By Tom Taylor

Chuck Dixon

Nightwing #25

Oh Chuck Dixon BY FAR.

I’m not a fan of anything Tom Taylor has done, except giving Dick back his finger stripes but hey that wasn’t even Tom’s decision. He’s completely overrated to me, and the only comics he’s praised for are ones he shared with other writers, and now he has a whole fan base dedicated to liking his work no matter his hard it is.

Everything he’s done creatively has been bleh. Nightwing is basically a romcom, he reused 5 different storylines from Bruce Wayne’s 2000-2014 era, (which I might get into more later), and more horrifyingly, he’s basically given Nightwing control over this city and having him make political decisions.

Oh, only like a hundred different superhero stories repeat why that’s a bad idea including Maxwell Lord, the Justice Lords, Teen Titans Vol. 7, The Red Son, Kingdom Come, Gods Among Us…..

He has nepotism because his sister is mayor, he put the Titans in Bludhaven so he’s no longer dependent at all because every Nightwing issue of Tom Taylor’s he hasn’t worked alone, saved himself, or had original ideas. At this point TT’s Nightwing could very well be the setup for Nightwing: New Order, which is a great read. (I’m sure TT would love the chance to write Kori as an apathetic mother the ways she is in NNO 😐-)

Dixon wins for me by a landslide, though his run was never perfect, and by issue 43 he started throwing away every hood thing he was building, (introduced a cool villain tho), and by issue 53 lost the series to Devin Grayson of all people.

Perhaps it was pressure from DC considering everything was going down hill as his contract ended, he set up such a beautiful story for Dick and Clancy’s Romance only to toss it out in one issue to “suddenly” have feelings for Barbara, who at this point still had a considerable age gap with him.

Major Spoiler Vol 5 (Prediction: End of S3)

Lari only says desperate things to Rupert.... TT Please no reposting. The translation is my own. PAINNNNNN with no context:

"Please don't love me." "I don't love you." "Can I tell you what I want?"

"yes"

"Is it okay if I don't die? I won't die. You don't even have to worry about me returning to Belois. "I've never worried about that." “But I don’t want to see Your Majesty anymore.” "..." "For the rest of my life, I don't want to see Your Majesty again. I don't want a relationship with you. Our relationship is terrible" "...why."

“Because it hurts so much. It's too painful.” "What's bothering you?" "Deceiving you. Don't let me hurt you anymore." “I said it was fine. I said it doesn't matter." "Even if Your Majesty says it's okay, the guilt will consume me. I'm so selfish I don't want to bear with it." "It's okay if I don't love you." "No. Your Majesty, If you don't listen.... I won't have a choice." "Why not?" "I'm sorry for being cruel, but I think it's too difficult to stay with you." "Lariette --" "Your Majesty, If I don't, I think I'll be exhausted and die. I just want to leave". ".... Don't die. I'm sorry." "Your Majesty, please don't have me." "You said you could take it." "I don't think I can anymore" "... alright." "Don't even come out in my dreams".

Words as cruel as being stabbed with a knife. It came in through his ears and tore him apart without leaving anything left.

New 52 TimKon is so special to me. It’s the definition of a romance being doomed from the start. It also shows that Tim and Kon will always be the mos important person in each other’s life regardless of the timeline or universe

djsh yeah no i Get you. in general anything with N52 Kon is an absolute tragedy—he’s just a kid who tried and everything was so stacked against him! like regular Kon had a lot stacked against him too but frankly with the whole ‘hey the closest thing you have to a name is a slur a stranger called you’ thing and the way he dies (and none of his friends even really KNOW) comes back, and then gets manipulated by the man who made him into disappearing again… its sooooo much.

adding N52 Tim into all of it too then… is just fascinating because their friendship is nowhere near as developed as original Timkon, but yet in that last arc with Kon in TT Vol. 5, N52 Tim just ends up devoting himself to trying to clear Kon’s name no matter what it does to his reputation… the best way to make sense of it to Me, Personally is def thinking of it as some cosmic intervention that says ‘hey, these two are going to be intertwined no matter how different from who they were in the old timeline’

like again its not My Timkon, it’s not the Timkon that consumes my brain all the time, there are so many plotholes and things that do not make sense bc N52 Teen Titans is a mess and yet

Sa Parole Pour Aujourd'hui du Samedi le 13 Avril 2024

Le retour du Seigneur est proche !

“Le retour du Seigneur nous prendra tous par surprise !” 2 P 3. 10 LM

A la lumière des événements au Moyen-Orient, il est de plus en plus important de nous rappeler que Jésus va revenir. Les esprits critiques ont réfuté cette idée, ont essayé de lui donner une explication rationnelle, ont émis doute sur doute : “Il a promis de venir, mais c'est pour quand ? Nos ancêtres sont morts et depuis que le monde est monde, rien n'a changé !” (2 P 3. 4). Mais le retour du Seigneur n’est pas une supposition théologique. Le Nouveau Testament l’affirme plus de trois cents fois ! Pierre a écrit :“Le Seigneur n'est pas en retard dans l'accomplissement de Sa promesse, comme certains se l'imaginent, Il fait simplement preuve de patience à votre égard... C'est pourquoi, dans cette attente, faites tous vos efforts pour que Dieu vous trouve purs et irréprochables à Ses yeux...” (2 P 3. 9-14). Et Paul ajoute : “Le Seigneur Lui-même descendra du ciel, et ceux qui sont morts unis au Christ ressusciteront les premiers. Ensuite, nous qui serons restés en vie à ce moment-là, nous serons enlevés pour rencontrer le Seigneur... et nous serons pour toujours avec le Seigneur” (1 Th 4. 16-17). Et tout cela arrivera en un clin d’œil. Nous n’aurons pas le temps de jeter un regard en arrière comme la femme de Lot ! Attendez-vous à ce que “se réalise notre bienheureuse espérance : la révélation de la gloire de Jésus-Christ...” (Tt 2. 13) ?

Est-ce que votre mode de vie reflète l’espoir qu’Il va bientôt revenir ? Demeurez-vous ferme dans votre foi en faisant confiance à Sa Parole ? Êtes-vous prêt à saisir toute occasion pour faire briller une lumière dans les ténèbres et verser du sel autour de vous ? (Lisez Mt 5. 13-14). Ce désir devrait être la première de vos préoccupations !

Un auteur chrétien a lancé cet avertissement : “Si vous n’êtes pas encore prêt à vous envoler, dépêchez-vous d’obtenir un billet pour ce vol futur. Tant qu’ils sont encore disponibles vous pouvez les obtenir gratuitement, mais n’attendez pas trop, cela ne saurait durer ! Si vous prenez trop de temps pour vous décider, vous risquez de manquer l’heure de l’envol et de n’avoir plus devant vous qu’un océan de regrets au lieu d’un avenir plein de promesses. A quoi vous servirait alors un billet périmé ?”

L’avenir pour ceux qui n’auront pas été enlevés ne sera pas réjouissant, si l’on lit avec soin le livre de l’Apocalypse. Priez aussi pour vos proches plus que jamais, afin qu’ils acceptent Jésus dans leur cœur avant qui’il ne soit trop tard.

Samedi 13 avril 2024 Le retour du Seigneur est proche !

“Le retour du Seigneur nous prendra tous par surprise !” 2 P 3. 10 LM

A la lumière des événements au Moyen-Orient, il est de plus en plus important de nous rappeler que Jésus va revenir. Les esprits critiques ont réfuté cette idée, ont essayé de lui donner une explication rationnelle, ont émis doute sur doute : “Il a promis de venir, mais c’est pour quand ? Nos ancêtres sont morts et depuis que le monde est monde, rien n’a changé !” (2 P 3. 4). Mais le retour du Seigneur n’est pas une supposition théologique. Le Nouveau Testament l’affirme plus de trois cents fois ! Pierre a écrit :“Le Seigneur n’est pas en retard dans l’accomplissement de Sa promesse, comme certains se l’imaginent, Il fait simplement preuve de patience à votre égard… C’est pourquoi, dans cette attente, faites tous vos efforts pour que Dieu vous trouve purs et irréprochables à Ses yeux…” (2 P 3. 9-14). Et Paul ajoute : “Le Seigneur Lui-même descendra du ciel, et ceux qui sont morts unis au Christ ressusciteront les premiers. Ensuite, nous qui serons restés en vie à ce moment-là, nous serons enlevés pour rencontrer le Seigneur… et nous serons pour toujours avec le Seigneur” (1 Th 4. 16-17). Et tout cela arrivera en un clin d’œil. Nous n’aurons pas le temps de jeter un regard en arrière comme la femme de Lot ! Attendez- vous à ce que “se réalise notre bienheureuse espérance : la révélation de la gloire de Jésus-Christ…” (Tt 2. 13) ? Est-ce que votre mode de vie reflète l’espoir qu’Il va bientôt revenir ? Demeurez-vous ferme dans votre foi en faisant confiance à Sa Parole ? Etes-vous prêt à saisir toute occasion pour faire briller une lumière dans les ténèbres et verser du sel autour de vous ? (Lisez Mt 5. 13-14). Ce désir devrait être la première de vos préoccupations ! Un auteur chrétien a lancé cet avertissement : “Si vous n’êtes pas encore prêt à vous envoler, dépêchez-vous d’obtenir un billet pour ce vol futur. Tant qu’ils sont encore disponibles vous pouvez les obtenir gratuitement, mais n’attendez pas trop, cela ne saurait durer ! Si vous prenez trop de temps pour vous décider, vous risquez de manquer l’heure de l’envol et de n’avoir plus devant vous qu’un océan de regrets au lieu d’un avenir plein de promesses. A quoi vous servirait alors un billet périmé ?” L’avenir pour ceux qui n’auront pas été enlevés ne sera pas réjouissant, si l’on lit avec soin le livre de l’Apocalypse. Priez aussi pour vos proches plus que jamais, afin qu’ils acceptent Jésus dans leur cœur avant qui’il ne soit trop tard.

「ムラカミロキ」live

Secret Silent Disco "PaRa/LLeL" VOL.2

2023.11.25(sat) 14:00-20:30

[VENUE] 多摩川左岸 稲城大橋下 https://www.google.co.jp/maps/place/35%C2%B039'10.8%22N+139%C2%B030'44.3%22E/@35.6537099,139.5126867,18.68z/data=!4m4!3m3!8m2!3d35.652996!4d139.51231?entry=tts&shorturl=1

[ENTRANCE] FREE PARTY

[LIVE] B.T.Reo440 / doors in doors / ロマン喫茶吟遊 飯綱暖 / ムラカミロキ [DJ] Masayuki Seta / Ironygentrick / DJ憑太郎 [LIVE PAINT] かわいわか [FOOD] くらっしゅび〜ん [DRINK] Parallel Cafe [SHISHA] Cloud Castle [SHOP] 加速一般人

※「ZYYK」の出演は無くなりました。

[TIMETABLE] 14:30-15:30 Masayuki Seta 15:30-16:30 DJ憑太郎 16:30-17:00 ムラカミロキ 17:00-17:30 ロマン喫茶吟遊 飯綱暖 17:30-18:15 doors in doors 18:15-19:30 Masayuki Seta 19:30-20:00 Ironygentrick 20:00-20:30 B.T.Reo440

PaRa/LLeLはスピーカーを使用せずにサウンドを楽しむサイレントディスコです。 会場では配信アプリを介して視聴用URLからスマホ&ヘッドフォン/イヤフォンでサウンドをお楽しみ頂けます。 視聴用URLは当日の開始に伴ってX/twitterの公式アカウント(@parallel_ssd)からアップいたします。

PaRa/LLeLの取説 (必ずお読みください) - ■会場までの最寄駅は西武多摩川線 競艇場前駅で徒歩15分程度です。 ■当日はスピーカーの設置はありません。サウンドはURLからライブ配信にてお楽しみ頂けます。イヤフォン/ヘッドフォンを必ずご持参ください。 ■会場は河川敷ですが周辺には一般の河川利用の方もいらっしゃいます。過度に騒ぐなどの迷惑行為はNGです。 ■飲食物は持ち込み自由ですが、ドリンク/フードの出店もしておりますので手ぶらでお越しの方はご利用ください。 ■会場となる河川敷は原状回復を徹底いたします。各自ゴミは必ずお持ち帰りください。 ■トイレは会場から徒歩5分程にある公衆トイレをご利用頂けます。現地でスタッフにお尋ねください。 ■会場にはベンチなどはありません。リラックスして頂けるためにキャンプチェアやレジャーシートなどのご持参を推奨いたします。 ■夜間はかなり暗い場所となりますので小型のライトなどの照明があると便利です。 ■台風など荒天の場合は中止、またはオンライン配信のみの開催となります。

Secret Silent Disco "PaRa/LLeL" X(Twitter): @parallel_ssd https://twitter.com/parallel_ssd Instagram: @parallel_silentdisco https://www.instagram.com/parallel_silentdisco/ SoundCloud https://soundcloud.com/parallelssd

多摩川親水公園 https://www.kankou-fuchu.com/?p=we-page-entry&spot=40336

family is the only thing that matters!!! Teen Titans/The Legion Special (2004)

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damn a bitch about to buy Many comics.....

Crazy - Parang Comin' (Optimus Christmas Vibes Vol. 5)

sorry if this is dumb but I FINALLY read new 52 teen titans (not fun) and like. that famous timkon page that everyone said “no straight explanation” literally has an explanation in context?? like him saying “everything you couldn’t do” refers to Tim not being able to clear Kon’s name, no?

I mean yeah, the words being spoken in that scene at face value have explanations. But usually when people say it has ‘no straight explanation’ I’ve always assumed they’re talking about both Tim’s general behavior (the shaking/trembling, the begging, etc. epecially in comparison to Cassie who had been Kon’s love interest, who’s not putting up a fight like this at all) plus the way Kon says that last line (whispering it in Tim’s ear like that) far more than just what he says on it’s own.

(Teen Titans Vol. 5 #12)

Like, dashed speech bubbles typically mean whispering, and combined with the art of Kon’s mouth right at Tim’s ear like that, it’s double implied. The words at face value definitely you can connect the meanings pretty easily (because in addition to being unable to clear his name I feel like there’s probably more to it than just that, it’s how Tim wasn’t able to save every kid from the cullings, how he wasn’t able to make Harvest go away for good before this no matter how hard he tried, etc) but him choosing to whisper it like that when everyone around them (Bar, Cassie, and Harvest) already knows about all of that other stuff, is what can make you go 🤔

and like there’s lowkey an explanation for Tim’s behavior, but it’s still always felt weird to me the way Tim is suddenly that dedicated to defending Kon’s name starting in the Annual and all throughout that arc. Tim & Kon during Vol. 4 were like… not that close! Kon was way closer with Miguel, and Tim really wasn’t all that close with anyone except kinda Cassie by the end. Like… Tim had been one to defend Kon a handful of times earlier sure but the way he gets so dedicated so quick in Vol. 5 always feels out of nowhere to me. This arc just kinda decided ‘oh uhhh they’re best friends like preboot now :)’

The only way I can really make sense of it based on context is Tim being in such an uncertain place irt the Titans in general, that when this situation arises with Kon he just convinces himself that no, of course someone from their team couldn’t do this, and runs really far with it- getting very attached to Kon during the whole experience, which brings him to the point he’s shaking like that while begging Kon not to go and now considering him his best friend. But even then it’s still… 🤔

also thinking about when Tim monologues about Kon afterwards and thinks for a second that Kon came back to save him.

(Teen Titans Vol. 5 #14)

Again, it’s that Tim just seems to be so attached to Kon now after this experience when he really had not been like that before this arc

Idk like, I think even in context that one scene and in general the whole arc still reads pretty uhhhh… not the straightest (though i’d say that far more from Tim’s POV than Kon’s, it’s Tim making a scene, Tim getting over-attached, etc) but probably just for different reasons than when people look at it out of context, ya know?

“Le retour du Seigneur nous prendra tous par surprise !” 2 P 3. 10 LM

A la lumière des événements au Moyen-Orient, il est de plus en plus important de nous rappeler que Jésus va revenir. Les esprits critiques ont réfuté cette idée, ont essayé de lui donner une explication rationnelle, ont émis doute sur doute : “Il a promis de venir, mais c'est pour quand ? Nos ancêtres sont morts et depuis que le monde est monde, rien n'a changé !” (2 P 3. 4). Mais le retour du Seigneur n’est pas une supposition théologique. Le Nouveau Testament l’affirme plus de trois cents fois ! Pierre a écrit :“Le Seigneur n'est pas en retard dans l'accomplissement de Sa promesse, comme certains se l'imaginent, Il fait simplement preuve de patience à votre égard... C'est pourquoi, dans cette attente, faites tous vos efforts pour que Dieu vous trouve purs et irréprochables à Ses yeux...” (2 P 3. 9-14). Et Paul ajoute : “Le Seigneur Lui-même descendra du ciel, et ceux qui sont morts unis au Christ ressusciteront les premiers. Ensuite, nous qui serons restés en vie à ce moment-là, nous serons enlevés pour rencontrer le Seigneur... et nous serons pour toujours avec le Seigneur” (1 Th 4. 16-17). Et tout cela arrivera en un clin d’œil. Nous n’aurons pas le temps de jeter un regard en arrière comme la femme de Lot ! Attendez- vous à ce que “se réalise notre bienheureuse espérance : la révélation de la gloire de Jésus-Christ...” (Tt 2. 13) ? Est-ce que votre mode de vie reflète l’espoir qu’Il va bientôt revenir ? Demeurez-vous ferme dans votre foi en faisant confiance à Sa Parole ? Etes-vous prêt à saisir toute occasion pour faire briller une lumière dans les ténèbres et verser du sel autour de vous ? (Lisez Mt 5. 13-14). Ce désir devrait être la première de vos préoccupations ! Un auteur chrétien a lancé cet avertissement : “Si vous n’êtes pas encore prêt à vous envoler, dépêchez-vous d’obtenir un billet pour ce vol futur. Tant qu’ils sont encore disponibles vous pouvez les obtenir gratuitement, mais n’attendez pas trop, cela ne saurait durer ! Si vous prenez trop de temps pour vous décider, vous risquez de manquer l’heure de l’envol et de n’avoir plus devant vous qu’un océan de regrets au lieu d’un avenir plein de promesses. A quoi vous servirait alors un billet périmé ?” L’avenir pour ceux qui n’auront pas été enlevés ne sera pas réjouissant, si l’on lit avec soin le livre de l’Apocalypse. Priez aussi pour vos proches plus que jamais, afin qu’ils acceptent Jésus dans leur cœur avant qui’il ne soit trop tard.

25th February: Emma reads Frank Churchill’s letter

Read the post and comment on WordPress

Read: Vol. 2, ch. 13 (31); pp. 172–173 (“When his letter to Mrs. Weston arrived” through to “‘look forward to with pleasure’”).

Context

Emma reads Frank Churchill’s letter to Mrs. Weston and reflects on her feelings for him. She imagines that he may come to care for Harriet.

This letter, if written the day on which Frank arrived at Enscombe, would have arrived in Highbury on the 25th or 26th at the earliest. We know Enscombe to be in Yorkshire, “about 190 miles from London” (vol. 2, ch. 18; p. 200); I take the average speed of the post in the early 19th century to be 7 mph (see Brix, n.p.).

Note that the first section (“What’s in a Name?”) contains spoilers.

Readings and Interpretations

What’s in a Name?

Emma reflects that, in Frank’s letter, “The charm of her own name was not wanting. Miss Woodhouse appeared more than once, and never without a something of pleasing connection, either a compliment to her taste, or a remembrance of what she had said” (p. 172). I have written before about the kind of triangulation of meaning that occurs in Emma between a personage, that person’s name, and the social and literary contexts (conversation or letters) in which that name appears (see “Jane Fairfax, Jane Fairfax, Jane Fairfax”). Here, as earlier, this triangulation or slippage of meaning is emphasized by placing a name in a syntactic position where we might expect it to designate the physical personage, yet it does not.

Nicholas Royle discusses Derrida’s concept that a letter creates its own addressee as relevant to certain themes in Emma:

Derrida is not concerned with ‘a letter which would be the external occasion […] of an encounter between two identifiable subjects—and who would themselves already be determined’. Rather he focuses on what he describes as the ‘gentle and terrible decision’ by which the addressee says ‘It was I’, ‘“me” the unique addressee’. He focuses, that is, on the fact and some of the extraordinary implications of the fact that ‘one cannot say of the addressee that s/he exists before the letter.’ And the addressor or sender too.

[…] This question of whether it is ‘me’, the unique addressee, is at play throughout the novel, and figured at various moments in terms of erotic or romantic misidentification. For example: ‘“Me!” [Harriet] replied with a smile of astonishment, “are you imagining me to be Mr Elton’s object?”’ [vol. 1, ch. 13; p. 73). (pp. 48, 50)

Here we are not concerned with flesh-and-blood personages so much as the way that language, the address, creates new situations and relations between those people. Royle goes on to discuss mind-reading and names in the novel:

Emma is […] also pervaded by the telepathic—in particular by what might be conventionally moralized as the dangers of speculation and ‘reading thoughts’. Communication or interpretation would occupy a domain analogous to that described by Freud in Totem and Taboo—the domain where ‘the element of distance is disregarded; in other words, telepathy is taken for granted’ (TT, p. 81). A few familiar instances may suffice: when Emma ‘had no doubt of what Mr. Weston was often thinking about’ [vol. 2, ch. 5; p. 124]; […] or when Churchill ‘looked at her, as if wanting to read her thoughts […]’ [vol. 2, ch. 12; p. 169]. […]

But in this domain, attention seems to fall, most of all, on the idea of the name. Emma finds her own name irrepressibly important—for example, the day after having dinner with them, she feels that ‘she must delighted the Coles. . . And left a name behind her that would not soon die away’ [vol. 2, ch. 9; pp. 149–50). Or in her perusal of a letter from Frank Churchill to Mrs. Weston: ‘The charm of her own name was not wanting. Miss Woodhouse appeared more than once. . .’ [vol. 2, ch. 13; p. 172]). Emma assumes that the name has irresistible power for others too, for example when she tells Harriet: ‘At this moment, perhaps, Mr Elton is shewing your picture to his mother and sisters, telling how much more beautiful is the original, and after being asked for it five or six times, allowing them to hear your name, your own dear name’ [vol. 1, ch. 7; p. 35]).

Everything in the text depends on the foreseeing or anticipation of the name, of saying or hearing it, of misreading the silence apparently surrounding it. (p. 51)

But is Miss Woodhouse the intended addressee of Miss Woodhouse? Can a telepathic lack of distance be said to exist between Frank and Emma here? The frequency and tone with which Frank mentions Emma’s name are, no doubt, for the Westons’ benefit, as a cover for his engagement with Jane. We know, from his behavior on Tuesday and from the letter which he writes towards the end of the narrative, that he fancies Emma to be “not without suspicion” of his engagement (vol. 3, ch. 14 [50]; p. 287), and believes from her manner that she is “free from any tendency to being attached” to him (ibid., p. 288). We also know from being privy to Emma’s consciousness for the past weeks of their acquaintance that he is correct on one of these points (Emma, of course, is suspicious, but her suspicions are misguided). The Miss Woodhouse whom Frank addresses is thus a collaborator—his imagined Miss Woodhouse is in on the joke of the Westons’ hopes for the two of them, an actress in a shared scene—and may or may not be said to exist.

Emma’s ability to telepathically read Frank is also patchy. She observes that, in his letter, “the transition from Highbury to Enscombe, the contrast between the places in some of the first blessings of social life was just enough touched on to shew how keenly it was felt, and how much more might have been said but for the restraints of propriety” (p. 172). She is not wrong in the literal sense of these words (see also “Schrödinger’s Narrator”), which suggests that she has read Frank’s tone correctly, but she misinterprets the address—she makes the wrong decision in answering the “question of whether it is ‘me’, the unique addressee.”

Beautiful Little Friend

Emma, observing that a remembrance of Harriet as “Miss Woodhouse’s beautiful little friend” is “[c]ompressed into the very lowest vacant corner” of Frank’s letter, takes this as evidence of Frank’s love for herself: “Harriet was remembered only from being her friend” (p. 172). We may recall Emma misinterpreting similar signs from Mr. Elton, and being told as much (“‘I never thought of Miss Smith in the whole course of my existence—never paid her any attentions, but as your friend: never cared whether she were dead or alive, but as your friend,’” vol. 1, ch. 15; p. 85). Shortly thereafter, however, when it becomes desirable to fit this sign into a different schema, she is able to reinterpret it: “His recollection of Harriet, and the words which clothed it, the ‘beautiful little friend,’ suggested to her the idea of Harriet’s succeeding her in his affections” (p. 173).

Jérémie Grangé argues that this is not quite a satire at Emma’s expense:

A typical Austenian movement consists of narrating a situation in the voice of the heterodiegetic narrator, analyzing all aspects of it until the tableau is precise and forceful enough to justify the entrance into the scene of a subjectivity that is, in a way, its logical conclusion. Far from being contradictory, the two discourses corroborate each other. Emma’s phantasmagoria are not always derided by the heterodiegetic narrator: often, the description of a situation leads naturally to their irruption. This is the case with the reception of one of Frank’s letters, the tenor of which is studied minutely, and which provokes a new chimera in the heroine’s mind. The missive contains at once the suggestion of Frank’s love for Emma (“Miss Woodhouse appeared more than once, and never without a something of pleasing connection, either a compliment to her taste, or a remembrance of what she had said”) and an evocation of Harriet (“I had not a spare moment on Tuesday, as you know, for Miss Woodhouse’s beautiful little friend. Pray make my excuses and adieus to her” [p. 172]). Emma’s reaction is twofold: first described by the omniscient narrator (Emma understands that the affection Frank feels for her is not strong, as the rest of the novel confirms), it then gives way to a rapid incursion of free indirect style. [Quotes from “His recollection of Harriet” to “it would be delightful indeed”, p. 173]. The point of transition from objective narration to free indirect style is difficult to locate with precision. What Austen figures here is the legitimation of the utopias that Emma forges. The voices of the heroine and heterodiegetic narrator are tangled, and one appears as the consequence of the other, not as its opponent. The section of free indirect style, which suddenly appears and no less suddenly evaporates, seems as if suggested by the objective narration. The text does not aim to establish an antithesis between a rational language and one marked by the moment and by bias; it unites the two within the same rhetoric. This explains the major difficulties frequently encountered when trying to precisely qualify discourses that clash within the same narrative impetus. (pp. 555–6; my translation)

Here we may remember Mary Hong’s argument that Emma’s suspicions about Jane and Mr. Dixon were suggested to her by Miss Bates’s syntax (see “An Animating Suspicion”).

Belles-Lettres

For U. C. Knoepflmacher, who argues that letters in Emma are expected to stand in for character, this letter brings Emma’s love for Frank to an end:

Significantly enough, Emma’s discovery [that she cannot love Frank] stems from her perusal of the first letter written by Frank since his sudden recall by the Churchills. […] The letter […] makes a point of mentioning Emma’s name “more than once, and never without a something of pleasing connection” (II, ch. 13, [172]; italics added). And yet Emma feels strangely disappointed by its effect on her: “Gratifying, however, and stimulative as was the letter in the material part, its sentiments, [she yet] found, when it was folded up and returned to Mrs. Weston, that it had not added any lasting warmth, that she could still do without the writer” (II, ch. 13, [173]). (p. 648)

Discussion Questions

Why does Emma start considering the possibility of a match between Frank and Harriet? Is the joke on her here?

Why does Emma ultimately find herself uninspired by Frank’s letter?

Bibliography

Austen, Jane. Emma (Norton Critical Edition). 3rd ed. New York: W. W. Norton & Company, [1815] 2000.

Brix, Andrew C., et al. “Postal System.” Encyclopædia Britannica, Inc. (2017). Accessed 22 February, 2022.

Grangé, Jérémie. “La destruction des genres : Jane Austen, Madame d’Epinay ou l’echec de la transgression.” Dissertation. Université Nancy 2, 2008.

Knoepflmacher, U.C. “The Importance of Being Frank: Character and Letter-Writing in Emma.” Studies in English Literature, 1500–1900 7.4 (Autumn 1967), pp. 639–58. DOI: 10.2307/449531.

Royle, Nicholas. “Telepathy: From Jane Austen and Henry James.” Oxford Literary Review 10.1/2 (1988), pp. 43–60.

Appendix

Un mouvement typiquement austenien consiste à narrer une situation par la voix du narrateur hétérodiégétique, à en décortiquer tous les aspects, jusqu’à ce que le tableau soit suffisamment précis et asséné pour justifier l’entrée en scène d’une subjectivité qui en est en quelque sorte la conclusion logique : loin de se contredire, les deux discours se corroborent. Les fantasmagories d’Emma ne sont pas uniquement tournées en dérision par le narrateur hétérodiégétique : souvent, la description d’une situation amène naturellement leur irruption. C’est le cas à la réception d’une lettre de Frank, dont la teneur est minutieusement étudiée, et qui provoque une nouvelle chimère dans l’esprit de l’héroïne. La missive contient à la fois la suggestion de l’amour de Frank pour Emma, « le nom de Miss Woodhouse y apparaissant à plusieurs reprises, systématiquement associé à de gentilles allusions aux agréments de sa compagnie, à des compliments sur son bon goût ou au rappel de propos qu’elle avait tenus devant lui », et une évocation d’Harriet : « Comme vous le savez, je n’ai pas eu mardi un seul moment de libre pour faire mes adieux à la belle amie de Miss Woodhouse, et je vous prierais donc de lui transmettre mes excuses et mon souvenir respectueux. », écrit Frank. La réaction d’Emma est double : tout d’abord décrite par le narrateur omniscient (elle comprend que l’attachement que Frank éprouve pour elle n’est pas fanatique, ce que le reste du roman confirme), elle laisse ensuite place à une rapide incursion du style indirect libre. [Quotes from “His recollection of Harriet” to “it would be delightful indeed”, p. 173]. Le passage de la narration objective au style indirect libre est malaisé à localiser avec exactitude. Ce qu’Austen échafaude ici, c’est une légitimation des utopies forgées par Emma. La voix de l’héroïne et celle du narrateur hétérodiégétique sont enchevêtrées, et l’une apparaît comme la conséquence de l’autre, non comme son antagoniste. Le discours indirect libre, qui procède par brusques floraisons suivies de non moins soudains évanouissements, est comme suggéré par la narration objective. Le texte ne vise pas à établir une antithèse entre un langage rationnel et un langage marqué par l’instant et la partialité, il réunit ces deux figures au sein d’une même rhétorique. C’est ce qui explique les difficultés majeures fréquemment rencontrées dans la qualification précise des discours qui s’entrechoquent dans un même élan narratif. (Grangé, pp. 555–6)