Given that kind of critique at least as early as the sixteenth century, it is not surprising that Jane Austen, with her exacting wit and precise literary construction, is able to make the blazon work in multiple ways, both to express the admiration (as yet unknown in its depth to the speaker) of such an eligible lover as Darcy and in her letters, to turn the convention upside down by blazoning
individuals for the amusement of her major correspondent, Cassandra.
They turn the blazoning
gaze back on the narrators to suggest the disintegration both of the love affairs and the speakers' bodies under the force of forbidden desire.
In fact, when Hassam painted Thirty-Forth Street, New York in May 1917 with its flags in red, white and blue blazoning
forth a nation's joy as the end of the war approached, the connection with Monet and his work on a similar subject is firmly established.
Camden had mistaken descents, putting grandsons in the place of grandfathers and mothers in the place of wives; he had made mistakes in blazoning
arms; he had invented earls and dukes who never existed and failed to acknowledge others who did; he claimed inheritances where there were none; and he gave sons and daughters to men who had died without issue.
That was the good news, but by the early twentieth century, the Progressives were blazoning
what they saw as the bad news.
Sarah Johnson, after blazoning
her affair with Jilly Cooper's husband Leo, lost her job and her lover.