Weird request for Poldark fans:
Does anyone here own the saga (all 12 books) on an e-reading device, and if so, would you be willing to search a word for me, and tell me the book/chapter it's in? It's not a word I think Graham uses regularly, or throughout the saga. The word is 'spawn.' I seem to remember it being in there, but can't begin to remember where.
It's been a while since I read the saga, and I only own the books on paper, so doing this manually would be a daunting task.
Anyone up for a word search?
Please and Thanks!
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disclaimer: yes, I am complaining about cheating in media. Because, yes, writers have the freedom to create what they want but if the morality in creation is free for all forms of media, but no piece of art is exempt from criticism, and that includes criticism on personal moral grounds. I betcha if I said Harry Potter is good, actually, everyone on here would flood my blog telling me I am wrong because of the author's intense prejudice. That being said, I am criticizing cheating in fiction, If you don't like that, don't interact
So often lately I see period dramas where the husband cheats on the wife (ex. Poldark, The Essex Serpent, Queen Charlotte, The Great)...and not only do I despise the cheating trope with every fibre of my being to where I get panic attacks when I consume the media...but specifically with period dramas...
Do these writers not understand the greater implications of a husband cheating on a wife during these periods? More than just the humiliation and heartbreak in the case of a loving, good marriage just like it is today.
In the Western world, probably until certain laws were enacted in the 1900's, if a woman married a man, she was legally his property. She had no legal identity under him. She was financially dependent on him. Any wages she made would automatically go to her husband. Her children were also not legally her children- they belonged to the father. If the husband died, even if the wife was still alive, the children were legally considered orphans.
Women could only rarely gain a divorce from their husbands. In England in the mid-1800's specifically, if a wife divorced a husband she had to prove he had to not only cheat but also be physically abusive, incestuous, or commit bestiality. On the other hand, a husband could divorce a wife just for being unfaithful. Because, kids, there were sexual double standards.
Getting married was often the endgame for a lot of women during that time. Sometimes you couldn't make your own living enough- marriage was a way to secure your entire future financially, with more than enough money to get by. If you were a spinster and middle class, you could get by with a job. But if you are an upper-class lady, the one thing a lady does not do is get a job and work. So upper-class spinsters basically were dependent on their families to get by (ex. Anne Elliott in Persuasion faces this with her own toxic family). As strange as it sounded today, marriage gave them some freedom to go about since a husband could be persuaded sometimes more easily than a father and one had a different home, their servants, etc. A husband was your foundation entirely for being a part of society, and standing up as your own woman.
So if a husband cheated on a wife, that was a threat to take all of that away.
He could give a lot of money that could be used to support his wife and children to the mistress. He could completely abandon said wife for the mistress. And since the wife legally couldn't get a job as he still lived, she would be dependent on any money he would said- and that is IF he sent over any money.
He could take her to court and publicly humiliate her to get a divorce away from her (look up the separation of Charles and Kate Dickens, he would call her mentally ill and say her cooking was bad and that she was having more children than they could keep up with all while having an affair and divorcing her to be with the misteress). And even if the wife was the nicest, more proper, goodest, more rule-abiding never-keeping-a-toe-out-of-line lady in town...as a man, the law was default on his side (look up Caroline Norton's A Letter to the Queen which details exactly that, the poor woman had her earnings as a writer taken by her husband and was denied access to her children from said husband)
So yeah...even if there was "no love" between them (and anytime the wife is portrayed as too boring or too bitchy so He HaS tO cHeAt is brought up is...pretty victim blamey)
So yeah. Period drama writers, if you have the husband have an affair ...just consider the reality of these things and address them, maybe punish the husband for once (*gasp* men facing consequences for their actions?!?!!), and if not, just please find other options and other tropes and devices for once.
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I consider myself a low-energy, passive, even at times phlegmatic kinda gal. But I’m staying with my parents for a week and my mother just accused me of being “too damn enthusiastic about everything all the time”.
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What I Read in December
What I Read in December
As usual, I got a fair amount of reading time in December and completed eight interesting books.
My family and finished watching Poldark, a Masterpiece Theatre series based on a book series, in mid-December. We were enthralled, and to ease the withdrawal, I am now reading the books, starting with Ross Poldark by Winston Graham.
This was a fine book but I found myself wondering how it came to be…
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'He was struck by the mystery of her personality ...that this hair and head and person of the young woman below it....meant more to him than any other because it made up in some mysterious way just that key which unlocked his attention and desire and love."
Narration of Ross's thoughts on Demelza 'Demelza' (Internal book 1 chapter 10)
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When you stir up old things best forgotten, you're bound to stir up some of the mud that's settled around 'em.
Winston Graham (Demelza)
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I much preferred Valentine to be George's
I believe we have discussed in this group how the baby Elizabeth carried at the end of Warleggan was George’s. Twenty years later when Winston Graham came back to the Poldarks, he used the parentage of Valentine as part of the suspense and drama of the story. The author said:
“It was not until 1971 that, having written a succession of modern novels, I seriously considered writing just one more Poldark. It was in its own way as much of a challenge as starting something quite new.
So The Black Moon was begun, and after initial difficulties, gradually began to flow, just as the others had. And as I wrote it a new theme appeared, growing entirely out of the circumstances of the old. And this theme – which involves the parentage of Elizabeth's son, Valentine Warleggan – has taken three novels to develop and complete.”
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The Warleggan Ball
by flipperbrain-awakes
Ross leans against a wall in the large room and contemplates the tumbler of brandy in his hand. George does not skimp, this amber liquid is quite good. Ross is well acquainted with fine brandy, risking much himself to import the best available through less than legal means. He scans the room, it is between dances and most of the guests are clustered together in groups, engaged in flattery and idle conversation. He had quarreled with his wife an hour ago, he knew his surly attitude and lack of attention had angered Demelza, and he could certainly understand why. Yet at that moment he was incapable of bending, of admitting he was wrong. And rather than making it up with her, he continued playing cards. His grief and outrage over the disgusting treatment of his friend Jim Carter, which ultimately led to his untimely death, had rendered him powerless to rise above his mood. But by God, Demelza is the last person to deserve the sharp-edge of his ire, and now he feels incredibly ashamed at his behavior.
He watches his wife chatting merrily with several solicitous gentlemen across the ballroom, without a doubt she has many would-be suitors were her husband not standing in the way. She glances at him, her eyes still flashing with annoyance and hurt, she is ravishing and haughty and so very tempting. Demelza is wearing a new gown, its fabric selected particularly for this occasion. It is the color of Spring and covered with delicate leaves and stems. Her décolletage is framed with the tiniest diaphanous ruffle which projects the opposite of demure, rather than disguising, it accentuates her bust and she is fully aware of its effect.
Ross has had enough drink this night, he sets his glass aside and walks over to speak quietly with the leader of the small orchestra assembled in the southern corner of the room, a few coins are discreetly handed over. While likely the poorest of manners to divert the musical program toward his personal goals, he cares not and strides determinedly toward Demelza. She sees him coming and her brows gather in anticipation of protest but Ross does not give her an opportunity to refuse. He takes her by the hand and leads her to the center of the dance floor. Demelza initially resists his embrace, she is still put-out and a little embarrassed by their earlier exchange… but then she turns her head and looks into his eyes and her anger melts away, he can be damnable at times but his feelings for her are written on his face.
Ross takes her in his arms as the music strikes up and begins to dance a dance that he has only seen once before, he holds his beautiful wife, his hand sitting familiarly at her waist, and leads her in The Walse. The steps are not truly known to him but he believes he can manage a fair representation, he has some skill at dancing though rarely used. The onlookers at the time he first witnessed this exercise were scandalized by the closeness of its participants, and from the expressions on many a face, they are once again. He grins inwardly at this but Demelza’s visage, her fine features gazing up at him, he is nearly overcome with desire. She is his complete focus, the only thing in this world that truly matters. That he could act an idiot and lose sight of that, well, he is an imperfect man.
They are a vision to behold on the ballroom floor, Ross expertly guiding in his version of this dance, Demelza following his lead like a woman who has been trained in this since girlhood. Their bodies move together instinctually as one, gracefully drifting and turning and whirling together. All eyes are upon them, but theirs are only for each other.
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