"I don't believe in hasty marriages"
About this Quote
A line like "I don't believe in hasty marriages" lands with a wink because it’s posed as moral advice while quietly selling something sharper: control. Anna Held, a turn-of-the-century entertainer whose public life depended on managing spectacle, understood that marriage was less a private vow than a headline with legal consequences. The phrasing is disarmingly plain, almost prim, as if she’s simply advocating patience. But the real move is the refusal embedded in the “I”: not “people shouldn’t,” but “I don’t,” a personal boundary offered in the idiom of social decorum.
In Held’s era, women in the limelight were routinely treated as available narratives - romantic plots for newspapers, patrons, and impresarios to draft at will. “Hasty marriages” weren’t just rash romances; they were traps: contracts that could swallow a career, redistribute money, or collapse a carefully built persona into someone else’s respectability story. By disavowing haste, she’s also disavowing the pressure to convert chemistry into legitimacy on schedule, to make desire presentable.
The humor is that “hasty” is a slippery word. It lets her critique the institution without declaring herself anti-marriage, maintaining mainstream palatability while keeping the door open on her terms. It’s a performer’s kind of pragmatism: delay the finale until you’ve read the contract, checked the lighting, and decided whether the stage is even worth stepping onto.
In Held’s era, women in the limelight were routinely treated as available narratives - romantic plots for newspapers, patrons, and impresarios to draft at will. “Hasty marriages” weren’t just rash romances; they were traps: contracts that could swallow a career, redistribute money, or collapse a carefully built persona into someone else’s respectability story. By disavowing haste, she’s also disavowing the pressure to convert chemistry into legitimacy on schedule, to make desire presentable.
The humor is that “hasty” is a slippery word. It lets her critique the institution without declaring herself anti-marriage, maintaining mainstream palatability while keeping the door open on her terms. It’s a performer’s kind of pragmatism: delay the finale until you’ve read the contract, checked the lighting, and decided whether the stage is even worth stepping onto.
Quote Details
| Topic | Marriage |
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