Arts Vanity: Jane Austen Heroines as Songs From My Fall ’24 Playlist

Another year, another vanity. As I reflect on this year, I have found comfort in the old adage “If it ain’t broke, don’t fix it.” So with that, I will be yet again uniting my love of music and enjoyment of 19th-century literature (though we’re switching to English literature this year) and pairing novel characters to songs that soundtracked this fall for me.

1. Elinor Dashwood — “Linger” by The Cranberries

Elinor Dashwood is no stranger to letting it linger. This wistful track reexamining a confusing relationship fits Elinor’s longing to be with Edward Ferrars, despite his having a secret engagement, and her silent suffering when she believes he doesn’t share her feelings. Elinor remains “in so deep” and “such a fool,” hiding her emotions from those around her. The track’s dreamy vocals and gentle drum beats match Elinor’s composure in the face of heartbreak and her ability to endure turmoil with quiet resolve.

2. Marianne Dashwood — “But Daddy I Love Him” by Taylor Swift

Swift’s bold declarations of love and dismissal of the “Sarahs and Hannahs in their Sunday best” would be relatable to Marianne Dashwood, a lady who loves deeply and forgoes the social norms of Regency England so she can revel in romance. Marianne is swept up in the chemistry with Willoughby, and the track’s building, cinematic instrumentals with melancholy strings and a steady synth beat reflect the fervor of their relationship, but it doesn’t last. Marianne learns from her experiences, so Swift’s declaration of “Time, doesn’t it give some perspective?” in the last chorus fits Marianne’s character development.

3. Elizabeth Bennet — “Bad Reputation” by Joan Jett

Though Elizabeth Bennet is beloved by modern readers, she is quite controversial amongst the people of Hertfordshire. Elizabeth is headstrong and values authenticity, embodying the lyrics “A girl can do what she wants to do / And that’s what I’m gonna do.” Elizabeth’s rejection of Mr. Collins’s proposal and powerful responses to Lady Catherine de Bourgh represent her commitment to be true to herself and not submit to the wants of people above her in rank or power. The grittiness of Jett’s vocals and the dynamic guitar riffs match Elizabeth’s sharp wit and humor.

4. Jane Bennet — “Kiss Me” by Sixpence None The Richer

This soft, innocent love ballad embodies the spirit of none other than Jane Bennet. Jane falls in love fast, and deeply, but her encounters with Mr. Bingley are slight and their love blossoms gradually. The track’s light percussion and soft guitar instrumentals create a gentle, romantic atmosphere, and the earnest lyrics reflect Jane’s wistful yet measured approach to love. Though Jane struggled to make her feelings clear to Mr. Bingley, she’s a romantic at heart and would appreciate the simple joy of asking him to “lead me out on the moonlit floor.”

5. Catherine Moreland — “How Soon Is Now?” by The Smiths

Catherine Moreland’s dramatic nature and deep longing for a love like those in the novels she reads fits Morrissey’s yearning for connection and exaggerated proclamations of “You go home and you cry / And you want to die” when those attempts to find someone fail. The melancholy vocal delivery and heavily reverbed guitar riff that propels the song create a sense of darkness that rivals the Gothic atmosphere in the novels on which Catherine tries to model her life.

6. Fanny Price — “Fade Into You” by Mazzy Star

As Fanny grew up at the Bertram estate, Mansfield Park, she developed a love for Edmund Bertram, the only person who would advocate for her and concern themselves with her education. This love is long hidden from Edmund and unrequited as he pursues someone else, so the track’s repetition of “Fade into you / Strange you never knew” captures Fanny’s longing for someone who doesn’t see her in the same way. Slow, somber strings punctuated by shakes of the tambourine reflect Fanny’s mild and steadfast nature.

7. Emma Woodhouse — “Sympathy is a knife featuring ariana grande” by Charli XCX & Ariana Grande

As the “it girl” of Highbury, Emma Woodhouse knows the pressures that come with being one of the richest, cleverest, and prettiest young ladies in town. Emma has her share of critics though, so dealing with criticism like Charli XCX and Ariana Grande would resonate with her. The song’s layered vocals and electronic production style featuring a driving handclap beat, an array of vocal effects, and heavy synths reflect the complexity of Emma’s attempted matchmaking schemes. The lyric “All the things I’ve said are just a knife” in the song’s outro also fits Emma’s occasionally harsh words spoken to people of a lesser station like Miss Bates, highlighting that Emma is not as perfect a heroine as she seems.

8. Anne Eliot — “That’s So True” by Gracie Abrams

Anne is still haunted by a past relationship, especially when she sees her ex pursuing other women. Like Abrams, Anne is “smiling through it all” and attempting to move forward, though her feelings for Captain Wentworth haven’t subsided since she first rejected him, having been persuaded by her family to do so. Anne’s stoicism hides the pain of their separation, and the first two lines of the bridge, “Made it out alive, but I think I lost it / Said that I was fine, said it from my coffin” reflect that hurt and regret of the past. The intensity of the bridge with the increased tempo of the vocals and focus on the drums matches the intensity of Anne’s passion for Captain Wentworth and fits the poignant nature of their eventual reconnection.

—Outgoing Arts Chair Anna Moiseieva will still be writing concert and music reviews and reading more 19th-century literature, have no fear! For song recommendations, book recommendations, song / fictional character pairings, or the chance to see her playlists for other seasons, reach out to her at anna.moiseieva@thecrimson.com.