Showing posts with label Nineteenth Century. Show all posts
Showing posts with label Nineteenth Century. Show all posts

Sunday, July 15, 2012

"They hate me for it ... I am resigned." the Trope of the "Bitter Cripple"

From H. M. S. Pinafore, Act One (Libretto by William S. Gilbert, 1878):

BOATSWAIN. Aye, Little Buttercup – and well called – for you're the rosiest, the roundest, and the reddest beauty in all Spithead.

BUTTERCUP. Red, am I? and round – and rosy! Maybe, for I have dissembled well! But hark ye, my merry friend – hast ever thought that beneath a gay and frivolous exterior there may lurk a canker-worm which is slowly but surely eating its way into one's very heart?

BOAT. No, my lass, I can't say I've ever thought that.

Enter Dick Deadeye. He pushes through sailors, and comes down.

DICK. I have thought it often. (All recoil from him.)

BUT. Yes, you look like it! What's the matter with the man? Isn't he well?

BOAT. Don't take no heed of him; that's only poor Dick Deadeye.

DICK. I say – it's a beast of a name, ain't it – Dick Deadeye?

BUT. It's not a nice name.

DICK. I'm ugly too, ain't I?

BUT. You are certainly plain.

DICK. And I'm three-cornered too, ain't I?

BUT. You are rather triangular.

DICK. Ha! ha! That's it. I'm ugly, and they hate me for it; for you all hate me, don't you?

ALL. We do!

DICK. There!

BOAT. Well, Dick, we wouldn't go for to hurt any fellow-creature's feelings, but you can't expect a chap with such a name as Dick Deadeye to be a popular character – now can you?

DICK. No.

BOAT. It's asking too much, ain't it?

DICK. It is. From such a face and form as mine the noblest sentiments sound like the black utterances of a depraved imagination. It is human nature – I am resigned.

This exchange, which introduces the character of Dick Deadeye, foreshadows his role as "villain" -- the one who, even though he has nothing to gain by it, deliberately sets out to thwart the hero and heroine's attempts to form a romantic union. Throughout the operetta, Dick repeatedly reminds his fellow shipmates that lofty sentiments such as equality among men, or the power of love to overcome all obstacles is no more than a) empty rhetoric, and b) wishful, delusional, thinking. Since this is a romantic comedy, Dick Deadeye's machinations come to naught -- although, to be fair, his insights into the true power of rank and privilege are still borne out. H. M. S. Pinafore was written as a comedy and a political satire, and as such, this portrayal of ugliness giving rise to cynicism and bitterness might be seen as a spoof of the melodramatic villain -- if only this weren't something that comes up in serious fiction as well.

Dick's shipmates are absolved of all responsibility for their feelings and actions toward him -- it just can't be helped. And at the same time, Dick's cynical feelings toward his fellow man, and the actions he's driven to by those feelings, are painted as entirely his own responsibility -- a weakness of his own spirit. Variations on this trope persist even into the twenty-first century, when so often, in police procedural television, the only motivation for a disabled character to commit murder is to get revenge -- either on the individual he blames for causing his disability (it's almost always a man), or bitter rage against the world at large.

Meanwhile, Dick Deadeye might just be skeptical toward those egalitarian ideals and talk of "love conquering all," because he's experienced the bigotry and hypocrisy of society.

There's no physical description of Dick Deadeye in the libretto, by the way, and no further explanation of what "Triangular" or "Three-cornered" means. It could be that he is missing an arm or a leg... although I've never seen the character portrayed that way in any production I've seen (either in a live or a televised production). That, however, may say more about the difficulty of disabled actors have in getting hired, than it does about the original intent of the operetta's authors.


Wikipedia article on H.M.S. Pinafore

The Full Libretto for H.M.S. Pinafore

Wednesday, April 25, 2012

Pied Piper of Hamelin: the children left behind

Excerpt from The Pied Piper of Hamelin, by Robert Browning, 1842 (lines 208 - 255)

The Mayor was dumb, and the Council stood
As if they were changed into blocks of wood,
Unable to move a step, or cry
To the children merrily skipping by,
-- Could only follow with the eye
That joyous crowd at the Piper's back.
But how the Mayor was on the rack,
And the wretched Council's bosoms beat,
As the Piper turned from the High Street
To where the Weser rolled its waters
Right in the way of their sons and daughters!
However he turned from South to West,
And to Koppelberg Hill his steps addressed,
And after him the children pressed;
Great was the joy in every breast.
"He never can cross that mighty top!
"He's forced to let the piping drop,
"And we shall see our children stop!"
When, lo, as they reached the mountain-side,
A wondrous portal opened wide,
As if a cavern was suddenly hollowed;
And the Piper advanced and the children followed,
And when all were in to the very last,
The door in the mountain-side shut fast.
Did I say, all? No! One was lame,
And could not dance the whole of the way;
And in after years, if you would blame
His sadness, he was used to say, --
"It's dull in our town since my playmates left!
"I can't forget that I'm bereft
"Of all the pleasant sights they see,
"Which the Piper also promised me.
"For he led us, he said, to a joyous land,
"Joining the town and just at hand,
"Where waters gushed and fruit-trees grew,
"And flowers put forth a fairer hue,
"And everything was strange and new;
"The sparrows were brighter than peacocks here,
"And their dogs outran our fallow deer,
"And honey-bees had lost their stings,
"And horses were born with eagles' wings;
"And just as I became assured
"My lame foot would be speedily cured,
"The music stopped and I stood still,
"And found myself outside the hill,
"Left alone against my will,
"To go now limping as before,
"And never hear of that country more!"
---

Of all the versions of The Pied Piper of Hamelin, this verse by Robert Browning is perhaps the most famous -- at least within the Western Anglophone world.

For a long while, I wondered if the piteous figure of the little lame boy, who desperately wanted to keep up with his playmates, but could not, was an invention of Browning's -- a romantic figure to tug at the heartstrings.

But a version of the story collected by the Jacob and Wilhelm Grimm: The Children of Hameln (Translated by D. L. Ashliman), also includes the detail of two children who were kept back by their "impairments": A blind boy, who could hear the music, but not see the trail, and a mute (deaf) child, who could see the trail, but could not hear the music.

Two things strike me about the depiction of Disability in these two versions. On the one hand, they're each an open acknowledgement that "all" doesn't necessarily mean All -- that not every child (and hence, every adult) can do everything in the same way as the majority. Some of us have to take the long way 'round, and thus we can't keep up and reach the "Promised Land." On the other hand, these impairments are also depicted as extremely isolating. Why didn't the deaf child and the blind child work together, for example?*

Of course, what seems like a tragedy at first may end up being a happy ending, and what seems a golden promise turns out to be a poisoned one. In a few other versions of the story (compiled, along with the Grimms' story linked to above, by Dr. Ashliman), the grown-ups eventually learn that the children who were led away ended up being sold into slavery, or taken off to war, and killed in battle. And thus, those marked as "Weak" and "Outcast" when things are going well, end up being the founders of the next generation after disaster strikes. Ultimately, these children -- the ones left behind -- are put in their perennial role of Omen-bearers, acting (unwillingly) as both witness and Sign that their society had fallen out of balance, and had become corrupted, incurring some Divine Wrath.**

We could, as a society, choose to be aware of those we are shutting out, and leaving in isolation. And we could choose to change, and be more inclusive. It is possible. Some would say it's even simple. That might be the first step in overturning our corruption, and bringing our society back into balance. It's far easier, though, to wrap ourselves in pity and sentimentality, and keep on doing as we've always done.

But either way, we're going to have to pay the piper, someday. How we pay is the choice before us.

-------------



*Though this particular view of Disability may be a quirk of the Western, European, culture this story comes from; for comparison, see the Aesop Fable The Blind Man and the Lame Man

**For an explanation of the link between Disability and Prophecy, see this entry, which I posted last April: Monsters: a Key motif, and a Symbol of Disability

Saturday, December 3, 2011

Tiny Tim and the Role of Disabled as Object Lessons

A Brief Excerpt from
A Christmas Carol
IN PROSE
BEING
a Ghost Story of Christmas

By Charles Dickens (first published 1843)

[Quote]
So Martha hid herself, and in came little Bob, the father, with at least three feet of comforter exclusive of the fringe, hanging down before him; and his threadbare clothes darned up and brushed, to look seasonable; and Tiny Tim upon his shoulder. Alas for Tiny Tim, he bore a little crutch, and had his limbs supported by an iron frame!

"Why, where's our Martha?" cried Bob Cratchit, looking round.

"Not coming," said Mrs. Cratchit.

"Not coming!" said Bob, with a sudden declension in his high spirits; for he had been Tim's blood horse all the way from church, and had come home rampant. "Not coming upon Christmas Day!"

Martha didn't like to see him disappointed, if it were only in joke; so she came out prematurely from behind the closet door, and ran into his arms, while the two young Cratchits hustled Tiny Tim, and bore him off into the wash-house, that he might hear the pudding singing in the copper.

"And how did little Tim behave?" asked Mrs. Cratchit, when she had rallied Bob on his credulity, and Bob had hugged his daughter to his heart's content.

"As good as gold," said Bob, "and better. Somehow he gets thoughtful, sitting by himself so much, and thinks the strangest things you ever heard. He told me, coming home, that he hoped the people saw him in the church, because he was a cripple, and it might be pleasant to them to remember upon Christmas Day, who made lame beggars walk, and blind men see."

Bob's voice was tremulous when he told them this, and trembled more when he said that Tiny Tim was growing strong and hearty.
[Unquote]



Let me just begin by saying that A Christmas Carol is one of my all time favorite stories. If you are not yet familiar with Dickens' original, I will be so bold as to recommend it; no movie adaptation, no matter how well done, can capture the skill of Dickens' wit and word-craft.

Part of the reason I love the book is, also, the story of its own creation. Dickens started out, in February of 1843, trying to write a political pamphlet describing the hardships of poor children working in the tin mines of Cornwall. But he came to realize that what he really needed, in order to motivate people to change their society for the better was art, and a well-told, emotional story, rather than logical arguments, facts, figures, and political slogans. Charles Dickens had such faith in his story that he paid for its publication himself, and while it didn't earn him the monetary income he was hoping for at the time, his story did work at least some magic on the culture, and has been credited with making people fall in love with the idea of Christmas all over again, when the traditions had been all but forgotten, except by a few cultural historians and "folklore geeks." What writer wouldn't dream of having such a legacy?

However, it is the story's very power and popularity that makes Tiny Tim such a problematic character. It's an odd thing about human beings, that, no matter how much true life experience we may have, we are unlikely to give it much credit, until we see it reflected back to us in the form of a story. Tiny Tim, having such a central, symbolic presence in a story that has been told over and over, for almost 170 years, is, arguably, the most consistent image of "What Disability Looks Like," how the Disabled should behave, and how Society, as a whole, should respond to the presence of Disability.

In many ways, Tiny Tim reflects the early origins of the word monster: as an omen or warning from the Divine to the citizens of the city. His frailty and disability, made visible by his crutch and iron brace, served as a "warning" that the industrial capitalism of England, at the time, was leading the society into social sin. And the vision of Tiny Tim's empty stool and abandoned crutch, as revealed by the Ghost of Christmas Yet to Be, was a personal warning to Scrooge himself about his own death.

Inside that broad allegorical framework, Tiny Tim displays nearly all the beliefs about disability that are held by the able-bodied privileged, and are reiterated in nearly every 'human interest story' on the news. The message is, that as Disabled People, we need to be as "Good as gold, and better," and to do that, we should welcome the stares and pity of strangers, and accept that our primary role in life is to Inspire Others (especially the able-bodied), by being sweet and spiritual at all times, and, especially, in the end, to Overcome our Disability, in the end, by being cured, and leaving our crutches and our braces behind. I also note that, except for his one line: "God bless us-- every one!" we never actually hear Tiny Tim speak in his own voice, but that everything we know about him we learn through his parents' (primarily his father's) emotional response to his existence, and that, within his own family, Tiny Tim is depicted as a Beloved Burden.

This last facet of the Tiny Tim trope is reflected in our modern, public discussions of "Disability Policy" when the family members of the disabled are treated as the Ultimate authorities, but the experiences of the disabled, themselves, are ignored or discounted.

As wonderful a story as A Christmas Carol is, it's important to remember that it is fiction, and that Tiny Tim is an allegorical figure-- and does not reflect the actual lived experiences of people with disabilities.


Links:

Wikipedia article: A Christmas Carol

A Christmas Carol by Charles Dickens at Project Gutenberg.org

Friday, September 30, 2011

The "False-Parted" woman in "comic" ballads

A BURGLAR'S EXPERIENCE WITH AN OLD MAID (Transcribed by Jim Dixon, and posted to the Mudcat Forum May 3, 2011 (with additional transcription by myself); from a YouTube video posted by "MusicBoxBoy" April 5, 2010)

Announced: "Comic Song entitled "A Burglar's experience with an Old Maid," as Sung by Mr. John Terrell -- Zonophone Record"

(Piano introduction)
I'll sing you a song of a burglar chap
    who went out to rob a house.
He lifted a window and then he crawled in,
    as quiet as a mouse.
He looked for a place for to hide himself,
    till all the folk were asleep,
And then says he, "With all the money I see,
    I'll take a quiet peep."
So under the bed the burglar crept
    and hid himself close to the wall.
He never once thought 'twas an old maid's room
    or he never would have had the gall.
He thought of all the money he'd get,
    as under the bed he lay.
About nine that night, oh, he saw such a sight!
    In an hour his hair had turned gray.

(Piano Interlude)
It was just nine o'clock the old maiden came in.
    "Oh, dear! I'm so tired," she said,
And thinking that night of course all would be right,
    she never looked under the bed.
She pulled out her teeth and her big glass eye
    and all of the hair off her head.
The burglar had seventeen athletic fits
    as he looked out from under the bed.
He thought of a chance that he'd get away;
    which thought was a total wreck.
The fussy old maid was wide awake
    and she collared this jag by the neck.
She never once hollered or screamed worth a cent,
    but stood there as cool as a clam
And murmured, "My prayer has been answered at last!
    Thank heavens! They've sent me a man!"

And the band played Annie Laurie, and Annie Rooney too,
And the band played anybody, for any old thing would do.



According to folksong researcher Steve Gardham, ballads about the "false-parted women," who undress to get ready for bed and keep going after they've removed their clothes (much to the horror of a male witness), can be traced back to the ballad The Ladies of Hyde Park, which was printed as a Broadside in 1660. The ballad tells the story of a young man who (in our modern vernacular) is looking to "hook up" with one of the fashionable women of Hyde Park. He settles on one in particular, chats her up until dark, and upon walking her home, pressures her into letting him spend the night (Stanza 7 opens with: With many denials she yielded at last, / Her chamber being wondrous privee.); stanzas 10 and 11 have this willing suitor being more successful in his escape than the accidental bridegroom in "A Burglar's Experience":

(Quote) I peept, and was still more perplex'd therewith;
        Thought I, “Tho't be midnight I'le leave thee;
She fetcht a yawn, and out fell her teeth,
        This quean had intents to deceive me;
She drew out her handkerchief, as I suppose,
To wipe her high fore-head, and off dropt her nose
, Which made me run quickly and put on my hose,
        “The Devil is in my Tan-tivee!”

She washt all the paint from her visage, and then
        She look'd just (if you will believe me)
Like a Lancashire Witch of four-score and ten,
        And as if the devil did drive me
I put on my cloathes and cry'd, “Witches and whores!”
I tumbl'd down stairs, broke open the doors,
And down to my country again to my Boors
        Next morning I rid Tan-tivee.'
(Unquote)

In this root version of the song, the link between physical deformity and the supernatural is explicitly made. But over the subsequent generations this element of the story was gradually dropped -- at least on a conscious level. As Steve Gardham told me, in a correspondance about these songs:

(Quote) Whereas we now wallow in the supernatural in folk arts before this became popular with the middle classes the common people were laughed at for their old superstitions. In the 16th/17th centuries having a supernatural element was a strong selling point for the ballad, but as literacy spread and beliefs changed, realism became more popular. (Unquote)


However, even though all explicit mention of the supernatural is gone by the time of the 20th Century recording, the implication is still there, with the mere sight of the ugly "old maiden" causing a man to have "athletic fits" and turning his hair grey.

The glib and sarcastic summary of this song could be, I suppose: "The one with the monster in the bed, and the person hiding underneath." Although in this case, attitudes toward the role of the disabled in society are overlaid with attitudes toward the role of women in society. The old maid's aggression in acquiring "her man" is the turning point of this "comic song's" punchline, as it inverts the melodramatic trope of the innocent maiden fleeing the sexual advances of a predatory man.

I don't have any ideas about this latter point, beyond some foggy, half-formed notions. But I'm beginning to think that attitudes about Womanhood and attitudes about Disability intersect and collide with each other in some very profound ways... Something to do with the nature of bodies and "What Bodies are Good For," perhaps.


Links and additional information:
A Burglar's experience with an Old Maid -- YouTube Video (the whole video is 5 minutes, 58 seconds long; the recording starts playing at 2 minutes, 7 seconds, and stops at 4 minutes, 20 seconds -- the rest is display of the phonograph machine and period music catalogs)

Lyr Req: The Old Maid and the Burglar: A discussion thread at Mudcat.org, where several versions of this song are posted and discussed.

False Parts theme: an essay on the ballad and its evolution between 1660 and 1947

Wednesday, July 20, 2011

Mrs Smith from Persuasion -- Physical Disability and Illness as the great Equalizer

Excerpt from Persuasion, by Jane Austen -- first published 1818:

Chapter 17

While Sir Walter and Elizabeth were assiduously pushing their good fortune in Laura Place, Anne was renewing an acquaintance of a very different description.

She had called on her former governess, and had heard from her of there being an old school-fellow in Bath, who had the two strong claims on her attention of past kindness and present suffering. Miss Hamilton, now Mrs Smith, had shewn her kindness in one of those periods of her life when it had been most valuable. Anne had gone unhappy to school, grieving for the loss of a mother whom she had dearly loved, feeling her separation from home, and suffering as a girl of fourteen, of strong sensibility and not high spirits, must suffer at such a time;
and Miss Hamilton, three years older than herself, but still from the want of near relations and a settled home, remaining another year at school, had been useful and good to her in a way which had considerably lessened her misery, and could never be remembered with indifference.

Miss Hamilton had left school, had married not long afterwards, was said to have married a man of fortune, and this was all that Anne had known of her, till now that their governess's account brought her situation forward in a more decided but very different form.

She was a widow and poor. Her husband had been extravagant; and at his death, about two years before, had left his affairs dreadfully involved. She had had difficulties of every sort to contend with, and in addition to these distresses had been afflicted with a severe rheumatic fever, which, finally settling in her legs, had made her for the present a cripple. She had come to Bath on that account, and was now in lodgings near the hot baths, living in a very humble way, unable even to afford herself the comfort of a servant, and of course almost excluded from society.

Their mutual friend answered for the satisfaction which a visit from Miss Elliot would give Mrs Smith, and Anne therefore lost no time in going. She mentioned nothing of what she had heard, or what she intended, at home. It would excite no proper interest there. She only consulted Lady Russell, who entered thoroughly into her sentiments, and was most happy to convey her as near to Mrs Smith's lodgings in Westgate Buildings, as Anne chose to be taken.

The visit was paid, their acquaintance re-established, their interest in each other more than re-kindled. The first ten minutes had its awkwardness and its emotion. Twelve years were gone since they had parted, and each presented a somewhat different person from what the other had imagined. Twelve years had changed Anne from the blooming, silent, unformed girl of fifteen, to the elegant
little woman of seven-and-twenty, with every beauty except bloom, and with manners as consciously right as they were invariably gentle; and twelve years had transformed the fine-looking, well-grown Miss Hamilton, in all the glow of health and confidence of superiority, into a poor, infirm, helpless widow, receiving the visit of her former protegee as a favour; but all that was uncomfortable in the meeting had soon passed away, and left only the interesting charm of remembering former partialities and talking over old times.

Anne found in Mrs Smith the good sense and agreeable manners which she had almost ventured to depend on, and a disposition to converse and be cheerful beyond her expectation. Neither the dissipations of the past--and she had lived very much in the world--nor the restrictions of the present, neither sickness nor sorrow seemed to have closed her heart or ruined her spirits.

In the course of a second visit she talked with great openness, and Anne's astonishment increased. She could scarcely imagine a more cheerless situation in itself than Mrs Smith's. She had been very fond of her husband: she had buried him. She had been used to affluence: it was gone. She had no child to connect her with life and happiness again, no relations to assist in the arrangement of perplexed affairs, no health to make all the rest supportable. Her accommodations were limited to a noisy parlour, and a dark bedroom behind, with no possibility of moving from one to the other without assistance, which there was only one servant in the house to afford, and she never quitted the house but to be conveyed into the warm bath. Yet, in spite of all this, Anne had reason to believe that she had moments only of languor and depression, to hours of occupation and enjoyment. How could it be? She watched, observed, reflected, and finally determined that this was not a case of fortitude
or of resignation only. A submissive spirit might be patient, a strong understanding would supply resolution, but here was something more; here was that elasticity of mind, that disposition to be comforted, that power of turning readily from evil to good, and of finding employment which carried her out of herself, which was from nature alone. It was the choicest gift of Heaven; and Anne viewed her friend as one of those instances in which, by a merciful appointment, it seems designed to counterbalance almost every other want.

There had been a time, Mrs Smith told her, when her spirits had nearly failed. She could not call herself an invalid now, compared with her state on first reaching Bath. Then she had, indeed, been a pitiable object; for she had caught cold on the journey, and had hardly taken possession of her lodgings before she was again confined to her bed and suffering under severe and constant pain;
and all this among strangers, with the absolute necessity of having a regular nurse, and finances at that moment particularly unfit to meet any extraordinary expense. She had weathered it, however, and could truly say that it had done her good. It had increased her comforts by making her feel herself to be in good hands. She had seen too much of the world, to expect sudden or disinterested
attachment anywhere, but her illness had proved to her that her landlady
had a character to preserve, and would not use her ill; and she had been
particularly fortunate in her nurse, as a sister of her landlady, a nurse by profession, and who had always a home in that house when unemployed, chanced to be at liberty just in time to attend her. "And she," said Mrs Smith, "besides nursing me most admirably, has really proved an invaluable acquaintance. As soon as I could use my hands she taught me to knit, which has been a great amusement; and she put me in the way of making these little thread-cases, pin-cushions and card-racks, which you always find me so busy about, and which supply me with the means of doing a little good
to one or two very poor families in this neighbourhood. She had a large acquaintance, of course professionally, among those who can afford to buy, and she disposes of my merchandise. She always takes the right time for applying. Everybody's heart is open, you know, when they have recently escaped from severe pain, or are recovering the blessing of health, and Nurse Rooke thoroughly understands when to speak. She is a shrewd, intelligent, sensible woman. Hers is a line for seeing human nature; and she has a fund of good sense and observation, which, as a companion, make her infinitely superior to thousands of those who having only received `the best education in the world,' know nothing worth attending to. Call it gossip, if you will, but when Nurse Rooke has half an hour's leisure to bestow on me, she is sure to have something to relate that is entertaining and profitable: something that makes one
know one's species better. One likes to hear what is going on, to be au fait as to the newest modes of being trifling and silly. To me, who live so much alone, her conversation, I assure you, is a treat."

Anne, far from wishing to cavil at the pleasure, replied, "I can easily believe it. Women of that class have great opportunities, and if they are intelligent may be well worth listening to. Such varieties of human nature as they are in the habit of witnessing! And it is not merely in its follies, that they are well read; for they see it occasionally under every circumstance that can be most interesting or affecting. What instances must pass before them of ardent, disinterested, self-denying attachment, of heroism, fortitude, patience, resignation: of all the conflicts and all the sacrifices that ennoble us most. A sick chamber may often furnish the worth of volumes."

"Yes," said Mrs Smith more doubtingly, "sometimes it may, though I fear its lessons are not often in the elevated style you describe. Here and there, human nature may be great in times of trial; but generally speaking, it is its weakness and not its strength that appears in a sick chamber: it is selfishness and impatience rather than generosity and fortitude, that one hears of. There is so little real friendship in the world! and unfortunately" (speaking low and tremulously) "there are so many who forget to think seriously till it is almost too late."

Anne saw the misery of such feelings. The husband had not been what he ought, and the wife had been led among that part of mankind which made her think worse of the world than she hoped it deserved. It was but a passing emotion however with Mrs Smith; she shook it off, and soon added in a different tone--

"I do not suppose the situation my friend Mrs Rooke is in at present, will furnish much either to interest or edify me. She is only nursing Mrs Wallis of Marlborough Buildings; a mere pretty, silly, expensive, fashionable woman, I believe; and of course will have nothing to report but of lace and finery. I mean to make my profit of Mrs Wallis, however. She has plenty of money, and I intend she shall buy all the high-priced things I have in hand now."



I first read Persuasion several years ago, and had almost forgotten about the character of Mrs. Smith, and the role her disability plays as a turning point in the plot, until I was just finishing up my last entry on The Squirrel and the Fox, and contemplating how Jack's blindness gave him access to crucial information that he would not have otherwise.

By virtue of his blindness, Jack has the opportunity to eavesdrop on an entire year of news from a wealthy town, from the suffering of ordinary citizens to that of the Lord Mayor and even the royal family. Mrs. Smith, by virtue of her arthritic legs, is likewise given an opportunity to meet and befriend Nurse Rooke -- a woman who, if Mrs. Smith still had money, health. and social privilege, would have been beneath her notice. And it is through the gossip of Nurse Rooke that Mrs. Smith is able to pass on crucial information to Anne which ultimately informs her decisions about the future course of her life.

Jane Austen's overarching theme in Persuasion is the contrast between being a member of the 'correct' social class, and having a correct, and strong, inner character. And she uses Mrs. Smith's rhumatism to highlight just how arbitrary and fleeting social status and privilege can be. The rich and poor alike fall ill, regardless of their "proper" breeding, and thus will enventually need the services of someone like Nurse Rooke. Though Austen is also quick to point out, through the voice of Mrs. Smith, that illness, itself, does not make one noble or patient, but only highlights a person's true character, for better or worse.

As was often said by activists lobbying for the cause, as the Americans with Disabilities Act was being crafted, and making its way through Congress:

"'Disability' is the one minority group everyone will join -- if they're lucky."



*This was excerpted from the Project Gutenberg etext edition:

Title: Persuasion
Author: Jane Austen
February, 1994 [Etext #105]
[Date last updated: April 15, 2005]
Edition: 11
Language: English

The full text is available for download, in a variety of formats, here: Persuasion by Jane Austen