Hear hear. They were also ineffective; Lydia ends up in a marriage trap and poverty, and Mrs. Bennet throws away what agency she has with willful selfishness and silliness. If one has to insist on imposing modern values over these characters, the only one who stands up for herself is Charlotte, who walked deliberately and clear-eyed into exactly what she wanted. Lizzie was not embittered at her choice, but shocked, and disappointed in her friend, however she has to reevaluate her own prejudices when she sees how very well Charlotte has managed things, and how content Charlotte is.
The first configuration is what I came to call the Vampires’ Castle. The Vampires’ Castle specialises in propagating guilt. It is driven by a priest’s desire to excommunicate and condemn, an academic-pedant’s desire to be the first to be seen to spot a mistake, and a hipster’s desire to be one of the in-crowd. The danger in attacking the Vampires’ Castle is that it can look as if – and it will do everything it can to reinforce this thought – that one is also attacking the struggles against racism, sexism, heterosexism. But, far from being the only legitimate expression of such struggles, the Vampires’ Castle is best understood as a bourgeois-liberal perversion and appropriation of the energy of these movements. The Vampires’ Castle was born the moment when the struggle not to be defined by identitarian categories became the quest to have ‘identities’ recognised by a bourgeois big Other.