When Lizzy Bennet, the witty sister in Jane Austen’s Pride and Prejudice (1813), asks: “What are men to rocks and mountains?” she is thinking about ways of understanding self and world through the notion of the sublime.
The sublime was one of the key 18th-century philosophical ideas of Romanticism, balancing our physical insignificance next to something majestic like a mountain, with our imaginative capacity to conceptualise it. Lizzy is trying to get over her own and her sister Jane’s heartbreak by thinking beyond herself to the wider world of nature around her.
The philosopher Sianne Ngai claims that the notion of the sublime no longer holds any force. Instead, today’s culture replaces the idea with concepts that have a weaker emotional impact on us, such as the “zany”, the “cute” and the “interesting”.
Harvard University Press
For big hits, social media demands zany personalities and cute images. And to say something is “interesting” might actually indicate that you find the topic boring. In her book Our Aesthetic Categories, Ngai basically argues that 21st-century capitalist society has no time for the ecstatic experience of the sublime.
Although the new BBC TV series The Other Bennet Sister – adapted from Janice Hadlow’s 2020 novel – is a development and continuation of Austen’s novel, the programme steers clear of the sublime and the beautiful and focuses especially on the “cute”.
The Other Bennet Sister starts where Pride and Prejudice also begins. The local grand house Netherfield Park is being let at last, causing much excitement over the identity of the new tenant and the potential opportunities for socialising they may provide.
Focusing on Mary Bennet, the mousy pedantic sister who remains unmarried at the end of Austen’s novel, the TV drama quickly dispatches with the plot of Pride and Prejudice in the first two episodes. Mary is left standing with her mother and father as the rest of her sisters get married.
But Mr Bennet (Richard E. Grant) dies and the sisters’ cousin Mr Collins (Ryan Sampson) and his wife descend on Longbourn to claim the Bennet family home as their own. So Mary is sent to London to stay with her aunt and uncle, the kindly Gardiners in Gracechurch Street.
In London, Mary begins to to enjoy herself and have her own adventures, and crucially, find out who she is – if she’s not the witty one (Lizzy), the beautiful one (Jane), the good-humoured one (Kitty), or the lively one (Lydia). In this BBC incarnation, Mary is the cute, endearing one.
A different perspective
The first episode rewrites Austen’s novel from Mary’s perspective, with her cutting a lonely and drab figure next to the pastel couples of Lizzy and Jane, and Kitty and Lydia. Ruth Jones’s Mrs Bennet is transformed from a character beset by nerves to a woman with nerves of steel. She forbids Mary a cute romance with her optician, or from flirting with Mr Collins as the formidable matriarch has set her sights on him marrying Lizzy (who, of course, will not have the pompous bore).
The Other Bennet Sister makes Mary’s sisters seem distant and shallow, and focuses on her struggles with self-esteem in response to their lack of notice. Like Hill, the Bennet servant you can tell likes Mary best, you just want to give her a hug. In a neat twist, Hill is played by Lucy Briers, who played Mary herself in the BBC’s famous 1995 Pride and Prejudice series.
In London, Mary starts to overcome her awkwardness and self-consciousness under the care of the Mr and Mrs Gardiner, played with verve by Richard Coyle and Indira Varma. She nervously begins a romance with Mr Tom Hayward (Dónal Finn) only to discover he is already engaged.
BBC/Bad Wolf/James Pardon
The show hints heavily that this engagement has faded in intensity like Sense and Sensibility’s Edward Ferrars with Lucy Steele, though Amy Baxter, played by Doctor Who’s Varada Sethu, is far nicer than the two-faced Lucy. By the end of the fifth episode, before she is called away to look after her ailing mother, Mary has found herself in a love triangle.
Throughout the series, Mary wonders just who she is. The audience, along with sensitive characters like Mrs Gardiner, already know: she is kind, funny, caring and thoughtful. In today’s parlance, she’s cute.
There is a sublime moment when Tom tries to cheer Mary up from one of her bouts of self-doubt. He arranges for Mr and Mrs Gardiner and Mary to enter a secret garden, where he reads Wordsworth’s poem Composed Upon Westminster Bridge:
Earth has not any thing to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Mary is moved to tears and it is clear to the audience, if not Mary or even Tom, that when he uses Wordsworth’s words to describe London, he is also describing Mary. Again, for the viewer, this is cute.
It’s clear The Other Bennet Sister is shaping up to be a classic reimagining of Pride and Prejudice, transforming the overlooked Mary Bennet into something and somebody else: as bright and glittering as the Thames in Wordsworth’s poem.
This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org; if you click on one of the links and go on to buy something, The Conversation UK may earn a commission.
You must be logged in to post a comment Login